Nejslavnějším dílem umělce Lambert Simon je obraz Adoration of the Lamb of God, four singing angels with banners (1933) v muzeu Museum Catharijneconvent v Utrecht. Díky Portrait of Johannes Maria Vianney, also called the Curé of Ars (1940) a Pieta (1950) tvoří celek tří děl, která každý rozpozná. Náš katalog obsahuje 5 děl umělce Lambert Simon; níže je 5 děl, na která se svět dívá nejčastěji, každé s uvedeným rokem vzniku, muzeem, které jej uchovává, a důvodem jeho významu.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Lambert Simon | Obrazy z tohoto seznamu |
|---|---|---|---|
 Museum Catharijneconvent |
Utrecht | 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, Utrecht. Následují Portrait of Johannes Maria Vianney, also called the Curé of Ars (1940) a Pieta (1950).
24 let: dílo Adoration of the Lamb of God, four singing angels with banners pochází z roku 1933 a Lambert Simon se narodil/a v roce 1909.
Náš katalog obsahuje 5 děl autora Lambert Simon z let 1933 až 1963.
Většina z nich se nachází v Museum Catharijneconvent (Utrecht). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1950s: 2 z 5 děl na této stránce pochází z tohoto období, z nich Pieta.
Nejstarší dílo na této stránce pochází z Adoration of the Lamb of God, four singing angels with banners (1933), nejnovější z Portrait of Johannes de Jong (1885-1955) (1963).
Adoration of the Lamb of God, four singing angels with banners, Portrait of Johannes Maria Vianney, also called the Curé of Ars a Pieta patří mezi 5 děl na této stránce, která má v zastarání Museum Catharijneconvent, Utrecht.
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.