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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
Ručně malovaná olejná reprodukce od $181 29 × 35 cm
Velikost jako originál $280 58 × 74 cm Objednat v originální velikosti →
Obrazem, díky němuž se Conrad Meyer stal slavným, je Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); visí v Scottish National Gallery v místě Edinburgh. Portrait of Hans Conrad Lavater (1686) a Portrait of Cleophea Lavater (1686) následují v srdcích sběratelů i návštěvníků muzeí. Z 3 děl umělce Conrad Meyer v našem katalogu je těchto 3 nejoblíbenějších, z nichž každé je uvedeno s datem vzniku, muzeem a unikátními rysy.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
2 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Conrad Meyer | Obrazy z tohoto seznamu |
|---|---|---|---|
 National Museum Zurich |
Zurich | 2 | Portrait of Hans Conrad Lavater, Portrait of Cleophea Lavater |
 Scottish National Gallery |
Edinburgh | 1 | Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) |
Od 1661 do 1686, 26 let umění Conrad Meyer, rok po roce, prostřednictvím jeho nejlepších obrazů.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edinburgh. Následují Portrait of Hans Conrad Lavater (1686) a Portrait of Cleophea Lavater (1686).
43 let: dílo Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) pochází z roku 1661 a Conrad Meyer se narodil/a v roce 1618.
Náš katalog obsahuje 3 děl autora Conrad Meyer z let 1661 až 1686.
Většina z nich se nachází v National Museum Zurich (Zurich) a Scottish National Gallery (Edinburgh). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1686: 2 z 3 děl na této stránce pochází z tohoto období, z nich Portrait of Hans Conrad Lavater.
Nejstarší dílo na této stránce pochází z Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), nejnovější z Portrait of Hans Conrad Lavater (1686).
Portrait of Hans Conrad Lavater a Portrait of Cleophea Lavater patří mezi 2 děl na této stránce, která má v zastarání National Museum Zurich, Zurich.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru přímo z jeho vlastní stránky.
Born in Zurich on 3 October 1618, Conrad Meyer entered a world where art was a family trade. His father, Dietrich Meyer the Elder, provided his first lessons in painting and engraving, establishing a foundation of technical discipline that would define his career. This early training was not confined to the walls of a single studio; between 1638 and 1642, Meyer moved through Bern and Solothurn before reaching Germany. In Frankfurt, he sought the company of Matthäus Merian the Elder, an encounter that likely expanded his understanding of the printed image.
His life was anchored in the Old Swiss Confederacy, yet his vision was expansive. He returned to Zurich, where he established himself as a central figure in the local artistic community. His marriage to Susanna Murer in 1649 brought him into connection with established families, and his son, Johannes Meyer the Younger, would eventually follow his father's footsteps into the arts. While much of his life was spent within the familiar borders of Zurich, his work reflected a man who looked closely at the world around him.
Meyer possessed a versatility that allowed him to move between the heavy application of oil on canvas and the delicate precision of the needle. He was a prolific creator of prints, with approximately 1,000 surviving illustrations and designs. His hand was equally capable in religious and historical scenes as it was in the more intimate realms of portraiture. He accepted commissions from Catholic patrons, producing over 100 etched images of saints, demonstrating an ability to navigate the diverse spiritual landscape of his era.
His printmaking often served a civic purpose. In 1645, he created an etching regarding table manners for the Zurich civic library’s New Year publication, a work intended to instruct the youth on proper behavior. This tradition of annual publications became a fixture of the city's cultural life. His portraiture was another significant pillar of his practice; he produced around 200 portraits, capturing the likenesses of guild masters, councillors, and clergy members with a steady, observant eye.
Perhaps Meyer’s most enduring contribution to the Swiss tradition was his approach to the landscape. He was among the first to treat the natural world as an independent subject rather than a mere backdrop for human drama. His 1647 painting of the Rhine Falls is noted for being one of the earliest topographically accurate depictions of that site. He did not merely observe from a distance; he engaged with the terrain through direct study.
Between 1653 and 1657, Meyer traveled through Switzerland four times alongside Jan Hackaert. During a 1655 expedition through the Glarus region, he produced large drawings based on the close observation of mountain landscapes. These works are recognized as early landmarks in the development of Alpine painting. By documenting the high Alps with such topographical focus, he laid the groundwork for future generations of artists who would seek to capture the rugged character of the Swiss landscape.