更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 25 件 John Wright Oakes 作品收录于我们的目录中
简而言之
John Wright Oakes 最著名的作品是 Moonlight, Near Cemmaes, Anglesea (1871)。 接下来的名单是 A North Devon Glen, Autumn (1870) 和 Slate Quarries, Llanberis (1847)。 我们的目录中收录了 John Wright Oakes 的 25 件作品；本指南为您精选了其中最著名的 25 件，并附上每件作品的创作年份、馆藏机构及其背后的故事。
In Moonlight, Near Cemmaes, Anglesea, John Wright Oakes captures a moment of profound stillness as the sun begins its descent or perhaps prepares to rise, casting warm, glowing hues across the sky. A tranquil landscape unfolds, centered around a quiet body of water that mirrors the shifting colors of the heavens. Upon this liquid surface, a small boat carries a single figure, a solitary presence that provides a sense of…
A North Devon Glen, Autumn is an oil on canvas by John Wright Oakes. The work measures 124 x 167 cm. It was created about 1870. This piece resides within the collection of the Walker Art Gallery in Liverpool, United Kingdom.
is an oil painting by John Wright Oakes, executed in 1847. The artist, born in 1820 in Cheshire West and Chester, United Kingdom, transitioned from the precise study of still-life fruit pieces to the direct observation of the natural landscape. This work emerged during a period of significant industrial expansion and a simultaneous romantic interest in the untouched natural world.
The landscape captures the confluence of the River Derwent, where the water meets the horizon under a vast, shifting sky. Mountains rise in the background, their forms softened by the heavy, moisture-laden air characteristic of the British Isles. A single boat floats upon the surface, a small, solitary presence amidst the expanse of the river. Scattered figures populate the banks, their scale emphasizing the quiet magnitude of the natural environment.…
A single figure stands at the river's edge, a silent witness to the slow movement of the current. The water flows past stones smoothed by time, its surface catching the pale light of a day governed by shifting clouds. In the distance, mountains rise like heavy shadows against a sky filled with soft, drifting shapes. The air feels still, held in the balance between the solid earth and the moving…
In Morning at Angera, Lago Maggiore, John Wright Oakes captures a lively scene unfolding along the water's edge. The shore is alive with a group of people gathered on the beach, their presence suggesting a leisurely day spent in the company of friends or family. Some figures hold umbrellas aloft, perhaps to shield themselves from the sun or to ward off a sudden light rain. Near the center of the…
Picking up Wreckage on a Rocky Shore by John Wright Oakes presents a realistic depiction of a dramatic coastal scene. Painted about 1864, the work captures a tumultuous maritime environment where the sea crashes against a rugged, rocky shoreline. The atmosphere is defined by a heavy, overcast sky filled with dark clouds, suggesting the immediate aftermath of a storm or the onset of tempestuous weather.
Mountain Stream, Glen Derry, Aberdeenshire, 'Like time the restless waters rush along'1873 · Touchstones Rochdale
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这些作品中最常出现的四个主题，以及各自最著名的代表作。
收藏了本页中大部分画作的 7 家博物馆。
| 博物馆 | 城市 | John Wright Oakes 的作品 | 此列表中的画作 |
|---|---|---|---|
 沃克艺术馆 |
利物浦 | 3 | A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore, The Tivey at Newcastle Emlyn, Cardiganshire |
 Nottingham Castle Museum And Art Gallery |
诺丁汉 | 2 | The Mouth of the River Derwent, A Sandy Bit of Road |
 Harris Museum - Art Gallery |
普雷斯顿 | 1 | Slate Quarries, Llanberis |
 Ludlow Library - Museum Resource Centre |
Ludlow | 1 | Malltreath Bay |
 莱恩艺术馆 |
泰恩河畔纽卡斯尔 | 1 | Loch Muick, Aberdeenshire |
 New Walk Museum - Art Gallery |
莱斯特 | 1 | Picking up Wreckage on a Rocky Shore |
 Touchstones Rochdale |
罗奇代尔 | 1 | Mountain Stream, Glen Derry, Aberdeenshire, 'Like time the restless waters rush along' |
选择一个年代，欣赏其代表作。
is an oil painting by John Wright Oakes, executed in 1847. The artist, born in 1820 in Cheshire West and Chester, United Kingdom, transitioned from the precise study of still-life fruit pieces to the direct observation of the natural landscape. This work emerged during a period of significant industrial expansion and a simultaneous romantic interest in the untouched natural world.
A single figure stands at the river's edge, a silent witness to the slow movement of the current. The water flows past stones smoothed by time, its surface catching the pale light of a day governed by shifting clouds. In the distance, mountains rise like heavy shadows against a sky filled with soft, drifting shapes. The air feels still, held in the balance between the solid earth and the moving…
In Moonlight, Near Cemmaes, Anglesea, John Wright Oakes captures a moment of profound stillness as the sun begins its descent or perhaps prepares to rise, casting warm, glowing hues across the sky. A tranquil landscape unfolds, centered around a quiet body of water that mirrors the shifting colors of the heavens. Upon this liquid surface, a small boat carries a single figure, a solitary presence that provides a sense of…
榜首作品是Moonlight, Near Cemmaes, Anglesea (1871)。紧随其后的是：A North Devon Glen, Autumn (1870)和Slate Quarries, Llanberis (1847)。
51岁。John Wright Oakes出生于1820，其作品Moonlight, Near Cemmaes, Anglesea创作于1871。
Moonlight, Near Cemmaes, Anglesea, A North Devon Glen, Autumn, Slate Quarries, Llanberis, The Mouth of the River Derwent, Landscape, Woman by River, Barmouth, Malltreath Bay, Loch Muick, Aberdeenshire, Morning at Angera, Lago Maggiore 及 Picking up Wreckage on a Rocky Shore。您可以在上方的列表中找到每件作品的创作年份及所属博物馆。
我们的目录中共有 25 件 John Wright Oakes 的作品，创作时间从 1847 到 1887。
您可以在 沃克艺术馆 (利物浦), Nottingham Castle Museum And Art Gallery (诺丁汉) 及 Harris Museum - Art Gallery (普雷斯顿) 中找到其中的大部分作品。上方的博物馆列表提供了详细分类。
在 1870s 时期，作品数量远超其他时期：本页 25 件作品中有 10 件出自该时期，其中包含 Moonlight, Near Cemmaes, Anglesea 件。
此处的早期作品为 Slate Quarries, Llanberis (1847)；最新作品为 A coastal scene with figures by beached fishing boats in the foreground (1887)。
Water (3), Mountains (3) 及 Trees (3)，共计 25 件作品。
Oil On Canvas，共用于本页 25 件作品中的 4 件。
您可以在 沃克艺术馆, 利物浦 的此页面上看到 3 件作品，包括 A North Devon Glen, Autumn, Morning at Angera, Lago Maggiore 及 The Tivey at Newcastle Emlyn, Cardiganshire。
是的。本页面的每幅画作均可根据您的需求，选择手工油画复制品或版画，并提供多种尺寸供您选择。只需打开画作详情页即可下单。
In the heart of the Victorian era, a period defined by both industrial expansion and a profound romantic longing for the untouched natural world, the works of John Wright Oakes emerged as a poignant bridge between reality and imagination. Born in 1820 at Sproston House near Middlewich, Cheshire, Oakes was a man whose lineage and upbringing provided a stable foundation for a life dedicated to the pursuit of aesthetic truth. While his early years were rooted in the English countryside, his artistic spirit found its true home amidst the rugged, mist-shrouded peaks and dramatic coastlines of Wales. His journey from a student of fine details to a master of atmospheric grandeur represents one of the most compelling narratives of nineteenth-century British landscape painting.
Oakes’s formal training began in Liverpool, where he studied under the guidance of John Bishop at the school attached to the Liverpool Mechanics’ Institution. This early education instilled in him a meticulous discipline that would later serve as the bedrock for his more expansive works. Interestingly, his initial foray into the art world was not through the sweeping vistas for which he is now celebrated, but through the delicate and precise genre of fruit paintings. These early still lifes, exhibited at the Liverpool Academy—where he eventually served as an honorary secretary—demonstrated a profound understanding of texture, light, and form. However, around 1843, a transformative shift occurred; drawn by the raw power of nature, Oakes began painting directly from the landscape, trading the controlled environment of the studio for the unpredictable beauty of the outdoors.
The transition from still life to landscape allowed Oakes to explore the tenets of Romanticism, an art movement that prioritized emotion, the sublime, and the awe-inspiring power of the natural world. Influenced by the legendary techniques of masters like Turner and Constable, Oakes developed a signature style characterized by masterful tonal modulation and atmospheric perspective. He possessed a rare ability to capture the fleeting, ephemeral qualities of light—the way a sudden sunbeam pier sculpting through heavy clouds, or the soft, melancholic glow of twilight over a mountain glen. His canvases were not merely topographical records but emotional landscapes that invited the viewer to feel the dampness of the mist and the chill of the wind.
His technical prowess was particularly evident in his treatment of diverse terrains:
The trajectory of Oakes’s career was marked by consistent recognition from the most prestigious institutions of his time. His debut in London at the Royal Academy in 1847, featuring On the River Greta, Keswick, signaled his arrival as a significant force in British art. Throughout his prolific life, he became a regular contributor to the Society of British Artists, the Dudley Gallery, and the Portland Gallery. His accolades were numerous, including being elected an Associate of the Royal Academy in 1876 and receiving honorary membership in the Royal Scottish Academy in 1883. Even as ill health began to impede his physical practice in his final years, his dedication to the craft remained unshaken, continuing to exhibit at the Royal Academy until the very end.
Today, the historical significance of John Wright Oakes lies in his ability to have captured the vanishing essence of the nineteenth-century landscape. His works, now held in esteemed collections such as the Walker Art Gallery and the Nottingham Castle Museum, serve as windows into a world of sublime beauty and quiet contemplation. He remains a vital figure for anyone seeking to understand the Victorian fascination with the wild, untamed corners of the British Isles, leaving behind a legacy of over 300 canvases that continue to resonate with visual splendor and psychological depth.
