John Cleveley The Elder portree

35 kõige kuulsamat maali kunstniku John Cleveley The Elder teosena

Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 43 teost John Cleveley The Elder meie kataloogis

Kokkuvõte

John Cleveley The Elder kõige tuntum teos on The 'Buckingham' on the Stocks at Deptford (1752), mis kuulub London Rahvuslik Mereväemuuseum kogele. Järgmised esindajad on The 'Luxborough' Galley on Fire, 25 June 1727 (1727) ja HMY 'Royal Caroline' in a Stiff Breeze. Kataloog dokumenteerib 43 teost kunstnikult John Cleveley The Elder; alljärgnevad 35 kirja on kõige tuntumad teosed, esitatud rangis järdkorras koos kuupäeva, muuseumi ja kirjeldusega.

1712 – 1777, Southwark Enamama teoseid: Rahvuslik Mereväemuuseum

John Cleveley The Elder: 10 peamist teost

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The 'Buckingham' on the Stocks at Deptford (1752) autor John Cleveley The Elder

The 'Buckingham' on the Stocks at Deptford

1752 · Oil On Canvas · Rahvuslik Mereväemuuseum, London

In this oil on canvas from 1752, we find The 'Buckingham' on the Stocks at Deptford, a work by John Cleveley The Elder. The painting captures a third-rate ship positioned on the stocks at the Deptford dockyard. It is widely understood that the vessel depicted is the 'Buckingham', a ship that was launched from this very location in 1751.

John Cleveley The Elder: sisaldus: 11–35

John Cleveley The Elder looming teemad

Neli kõige sagedamini esindatud teemat nende teosede seas, millist igaüks on esindatud oma kõige tuntema näidega.

John Cleveley The Elder: muuseumide lemmik

Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.

Muuseumid Linn John Cleveley The Elder teosid Selle nimekirja maalid
Rahvuslik Mereväemuuseum, LondonRahvuslik Mereväemuuseum London 14 The 'Buckingham' on the Stocks at Deptford, The 'Luxborough' Galley on Fire, 25 June 1727, The Yawl of the 'Luxborough' Galley
National Trust, AntonyNational Trust Antony 2 Dutch Ships in Choppy Seas, Dutch Ships Going before the Wind
Government Art Collection, LondonGovernment Art Collection London 2 Deptford Dockyard 'Les Trois Amis', A Naval Ketch
National Trust, GreenwichNational Trust Greenwich 1 HMY 'Royal Caroline' in a Stiff Breeze
New York Historical Society, New York CityNew York Historical Society New York City 1 View of a Seaport
South Shields Museum And Art Gallery, South TynesideSouth Shields Museum And Art Gallery South Tyneside 1 A Sheer Hulk, Refitting an East Indiaman
Victoria Art Gallery, BathVictoria Art Gallery Bath 1 The Landing of Princess Charlotte of Mecklenburg Strelitz at Harwich
Yale Center for British Art, New HavenYale Center for British Art New Haven 1 A Launching at Deptford

John Cleveley The Elder: iga kümnendikumma peamine maala

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John Cleveley The Elder maalid: viiteküsimused

Milline John Cleveley The Elder maalis on kõige tuntum?Näita vastust

The 'Buckingham' on the Stocks at Deptford (1752), Rahvuslik Mereväemuuseum, London. Järgnevad teosed on The 'Luxborough' Galley on Fire, 25 June 1727 (1727) ja HMY 'Royal Caroline' in a Stiff Breeze.

Kui palju aastaid oli John Cleveley The Elder vanal, kui teos The 'Buckingham' on the Stocks at Deptford maalis?Näita vastust

40 aastat: John Cleveley The Elder sündis aastal 1712 ning teos The 'Buckingham' on the Stocks at Deptford on pärinev aastast 1752.

Millised on John Cleveley The Elder kümneks tuntumat maalat?Näita vastust

The 'Buckingham' on the Stocks at Deptford, The 'Luxborough' Galley on Fire, 25 June 1727, HMY 'Royal Caroline' in a Stiff Breeze, The Yawl of the 'Luxborough' Galley, Escape from the 'Luxborough' Galley, The 'Luxborough' Galley Burnt Right Down, The Yawl of the 'Luxborough' Galley Arriving in Newfoundland, 7 July 1727, The 'Luxborough' Galley Burnt Nearly to the Water, 25 June 1727, Bombardment of Castillo de San Lorenzo by Admiral Vernon ja Admiral Byng's fleet getting underway from Spithead. Üleolev nimekiri sisaldab iga teose kuupõeva ja säilitav müsenum.

Kui palju teoseid kunstnikuga John Cleveley The Elder on dokumenteeritud?Näita vastust

Kataloogis on 43 teost kunstnikult John Cleveley The Elder, mis on pärinevad ajastust 1727 kuni 1775.

Millistes muuseumides on John Cleveley The Elder kõige tuntumad maalid?Näita vastust

Peamiselt Rahvuslik Mereväemuuseum (London), National Trust (Antony) ja Government Art Collection (London). Ülemine muuseumide tabel annab täieliku jaotuse.

Mille perioodi ajal on maalatud John Cleveley The Elder kõige tuntumad teosed?Näita vastust

Ajalisel perioodil 1750s: 12 35 sellel lehel loetletud teosest kuulub sellesse ajajuhku, sealhulgas The 'Buckingham' on the Stocks at Deptford.

Millised on selle nimekirjas John Cleveley The Elder kõige varasemad ja hilisemad teosed?Näita vastust

Siin loeteldud kõige vanem teos on The 'Luxborough' Galley on Fire, 25 June 1727 (1727); kõige uuem on H M S Ulysses off the North Foreland (1775).

Millised teemad esinevad kõige sagedamini John Cleveley The Elder loomingus?Näita vastust

18th century (3), Ship (2) ja Maritime (2), 35 sellel lehel loetletud teose külmest.

Millised John Cleveley The Elder teosed kuuluvad Rahvuslik Mereväemuuseum kollektsiooni?Näita vastust

The 'Buckingham' on the Stocks at Deptford, The 'Luxborough' Galley on Fire, 25 June 1727 ja The Yawl of the 'Luxborough' Galley on üks 14 teosest Rahvuslik Mereväemuuseum, London kollektsioonis sellel lehel.

John Cleveley The Elder: elulugu

The Shipwright of the Canvas: The Life of John Cleveley the Elder

In the heart of eighteenth-century London, amidst the rhythmic sounds of hammers and the scent of fresh timber at the Deptford Dockyard, a unique artistic vision was being forged. John Cleveley the Elder (c. 1712 – 1777) did not emerge from the polished studios of fine art academies, but rather from the practical, gritty reality of a shipwright’s workshop. Born in Southwark, his early life was defined by the tactile mastery of wood and iron. As a carpenter belonging to His Majesty’s Navy, Cleveley possessed an intimate, structural understanding of the vessels that dominated the seas of his era. This foundational knowledge would later become the very soul of his artistry, allowing him to transcend mere illustration and achieve a profound level of maritime realism that few of his contemporaries could replicate.

Cleveley’s journey is a testament to the power of observation. Without formal academic training, he relied on an innate ability to translate the technical complexities of naval architecture into evocative oil paintings. His dual vocation—working as a carpenter while developing his painterly hand—meant that every line of a hull and every tension in a mast was informed by firsthand experience. When one gazes upon his depictions of ships under construction, such as the celebrated Sixth-Rate on the Stocks, one does not merely see a painting; one witnesses the meticulous precision of a man who understood the weight, the grain, and the engineering of the maritime world.

A Mastery of Light, Sea, and Motion

The brilliance of Cleveley’s work lies in his ability to marry technical accuracy with an atmospheric sensitivity. While his compositions are anchored by the rigid geometry of naval construction, they are brought to life through a masterful use of light and shadow. He possessed a rare talent for capturing the mercurial nature of the sea—the way sunlight dances upon a cresting wave or how a heavy mist might shroud a distant frigate. In works like The Royal Caroline, painted in 1750, Cleveley demonstrates an extraordinary command over movement; the sails are not static objects but living entities, caught in a moment of energetic propulsion across the canvas.

His stylistic development allowed him to navigate various maritime themes, from the serene majesty of royal yachts to the visceral drama of naval engagements. He could pivot from the quiet, industrious atmosphere of the dockyards to the chaotic, salt-sprayed intensity of a storm. This versatility ensured his relevance among a wide range of patrons, including naval officers who sought accurate records of their vessels and collectors enamored by the romanticism of the high seas. His brushwork often balanced the fine detail required for ship portraits with a broader, more expressive touch when rendering the elements, creating a sense of depth and dimensionality that pulls the viewer into the very heart of the ocean.

Legacy and Historical Significance

The historical significance of John Cleveley the Elder extends far beyond his individual canvases. He was a pioneer of a genre that would come to define British visual identity during an age of naval supremacy. By documenting the evolution of shipbuilding and the grandeur of the Royal Navy, he provided a vital visual record of Britain's maritime ascendancy. His influence also echoed through his family; his son, John Cleveley the Younger, and his nephew, Robert Cleveley, continued this tradition of marine excellence, further cementing the Cleveley name as a cornerstone of British maritime art.

Today, the works of Cleveley the Elder serve as much more than historical artifacts. They are emotive windows into a vanished era of sail and timber. His ability to blend the technical precision of a craftsman with the poetic vision of an artist ensures that his legacy remains vibrant. Through his eyes, we do not just observe the ships of the eighteenth century; we feel the spray of the Atlantic, sense the tension of the rigging, and respect the enduring majesty of the sea.