تُعد Adoration of the Lamb of God, four singing angels with banners (1933) أشهر لوحات Lambert Simon، والموجودة في Museum Catharijneconvent، أوتريخت. مع Portrait of Johannes Maria Vianney, also called the Curé of Ars (1940) وPieta (1950)، تكتمل الأعمال الثلاثة التي يعرفها الجميع. تضم قائمتنا 5 من أعمال Lambert Simon؛ وتُعد الـ 5 المذكورة أدناه هي الأكثر شهرة عالمياً، مع توضيح سنة إنتاجها، والمتحف الذي يضمها، وأهميتها الفنية.
تُصنف الأعمال بناءً على درجة شعبيتنا، التي تجمع بين عمليات البحث والزيارات والطلبات لكل عمل فني. تم التحديث في نوفمبر 2026.
المتاحف 1 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال Lambert Simon | لوحات من هذه القائمة |
|---|---|---|---|
 Museum Catharijneconvent |
أوتريخت | 5 | Adoration of the Lamb of God, four singing angels with banners, Portrait of Johannes Maria Vianney, also called the Curé of Ars, Pieta |
Adoration of the Lamb of God, four singing angels with banners (1933)، Museum Catharijneconvent, أوتريخت. يليهما Portrait of Johannes Maria Vianney, also called the Curé of Ars (1940) وPieta (1950).
عمر 24 عاماً: يعود تاريخ Adoration of the Lamb of God, four singing angels with banners إلى عام 1933، وقد وُلد Lambert Simon في 1909.
تضم قائمتنا 5 من أعمال Lambert Simon، التي يعود تاريخها من 1933 إلى 1963.
معظمها موجود في Museum Catharijneconvent (أوتريخت). وتدرج القائمة أعلاه المتاحف واحداً تلو الآخر.
في 1950s: 2 من أصل 5 من الأعمال في هذه الصفحة تعود إلى ذلك التاريخ، من بينها Pieta.
أقدم لوحة في هذه الصفحة هي من عام Adoration of the Lamb of God, four singing angels with banners (1933)، وأحدثها من عام Portrait of Johannes de Jong (1885-1955) (1963).
تُعد Adoration of the Lamb of God, four singing angels with banners, Portrait of Johannes Maria Vianney, also called the Curé of Ars و Pieta من بين 5 عمل فني في هذه الصفحة محفوظة لدى Museum Catharijneconvent, أوتريخت.
The creative trajectory of Lambert Simon begins in Den Helder, Netherlands, where he was born on July 20, 1909. His professional activity spans over six decades, a period of constant production that stretches from 1924 until his death in Utrecht on October 10, 1987. He was a versatile figure in the Dutch art scene, working across various media. His hands moved between the precision of drawing and the physical demands of sculpture and muralism. He was a painter, draftsman, sculptor, muralist, and glass painter.
His life was marked by movement between significant urban centers. He lived and worked in Den Helder, Paris, and Utrecht. In Utrecht, he became a member of the Genootschap Kunstliefde. This period of his life saw him expanding his reach beyond the canvas, engaging with the architectural and spiritual spaces of the Netherlands through his work in glass and murals. His presence in the art world was defined by this breadth of technical skill, moving from the intimate scale of a watercolorist to the monumental scale of a mosaicist.
Simon’s professional life moves between the coastal atmosphere of Den Helder and the urban centers of Paris and Utrecht. In Utrecht, his presence is marked by his membership in the Genootschap Kunstliefde. This affiliation places him within the specific artistic circles of the city, connecting his practice to the local institutional landscape.
The act of instruction forms a significant part of his career. He moves from the classroom to the studio, sharing technical knowledge with the next generation of practitioners. His teaching roles are split between different academic environments, spanning from the southern reaches of the Netherlands to the central provinces.
He holds positions at two distinct institutions. In Breda, he provides instruction at the St. Joostacademie. His influence extends to Utrecht, where he teaches at the Vrije Academie. These roles establish him as a figure active in both formal and alternative educational settings.
In 1945, the focus shifts to the Begijnhofkapel in Amsterdam. To mark the 600th anniversary of the Miracle of Amsterdam, Simon produces eight paintings. These works are positioned along the edge of the balustrade. They remain hidden for decades, only to be rediscovered in June 2012.
The scale of his work expands in Nijmegen between 1957 and 1959. Here, he executes four large stained-glass windows for the Antonius van Paduakerk. These windows consist of a rosette with three registers. The commission celebrates the 40th anniversary of the church and the jubilee of dean-pastor C. van Dijk. The iconography of these windows reflects the Bible-oriented Nouvelle Théologie, a French movement that influenced the Netherlands in the decades following the Second World War.