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Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker
Ručně malovaná olejná reprodukce od $181 29 × 34 cm
Velikost jako originál $302 64 × 78 cm Objednat v originální velikosti →
Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734) je nejslavnější obraz autora Edvard Orm, který se nachází v muzeu National Portrait Gallery of Sweden ve městě Strängnäs. Z 1 děl umělce Edvard Orm v našem katalogu uvádíme 1 těch, na které se kolektéři a návštěvníci muzeí nejčastěji dívají, včetně roku vzniku, názvu muzea a příběhu každého díla.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
Muzeum, které má v této kolekci nejvíce obrazů.
| Muzea | Město | Díla autora Edvard Orm | Obrazy z tohoto seznamu |
|---|---|---|---|
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker |
1734 je rok vzniku všech díel s datem vzniku od Edvard Orm na této stránce: zde jsou, seřazena podle slávy.
Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734)
64 let: dílo Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker pochází z roku 1734 a Edvard Orm se narodil/a v roce 1670.
Náš katalog obsahuje 1 děl autora Edvard Orm.
Většina z nich se nachází v National Portrait Gallery of Sweden (Strängnäs). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
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.
Edvard Orm moved through the landscapes of southern Sweden, leaving his mark on the walls of churches and the faces of local officials. Born around 1670, his life followed a path through Västergötland, Jönköping, Västervik, and eventually to Öland, where he remained until his death in 1735. He was a painter who worked in the baroque style, though he never belonged to a formal guild. His presence was felt in many places, from the shores of Gotland to the forests of Småland. He was often called a konterfejare, a term for one who paints portraits, yet his hands were equally accustomed to the heavy task of decorating church ceilings and altarpieces.
There is a certain weight to his work. His colors tend to be heavy, applied with a hand that understood the permanence required for stone and plaster. While some suggest he may have studied under David Klöcker Ehrenstrahl or David von Krafft, there is no certain proof of such a connection. He worked with what he had, adapting his skill to the needs of the people around him, from the high-ranking officials to the local clergy.
His commissions varied depending on where he settled. In the churches, he tackled large-scale religious themes that required both stamina and a sense of scale. In the private homes of the local elite, he focused on the individual. His output included:
In Hakarps kyrka, his work took on a more complex character. He spent six months on the ceiling, assisted by a man named Johan Kinnerus. The scenes there—paradise, the resurrection, and the final judgment—were meant to be seen from below, filling the space with a sense of the divine. Some say the animals in the paradise scenes were the work of his son, Gabriel.
The traces of his life are held in various collections, including the Nationalmuseum and the Kalmar läns museum. His paintings survived even when the buildings they inhabited did not; the church in Gränna, for instance, was lost to a fire in 1889. What remains are the records of a man who painted the reality of his time, capturing the likenesses of priests and their wives, and the heavy, solemn scenes of faith that defined the era. He died in Algutsrum, leaving behind a body of work that reflects the steady, provincial life of 18th-century Sweden.