Maleriet, der gjorde Caesar Van Everdingen berømt, er Woman praying (1650); det hænger på Rijksmuseum i Amsterdam. Jupiter and Callisto (1655) og Winter (1646) følger efter i samlernes og museumsgæsternes hjerter. Af de 41 værker af Caesar Van Everdingen i vores katalog er disse 40 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
A single mask lies discarded in the upper corner, a silent witness to a deception. Beneath it, the nymph Callisto reclines upon heavy folds of fabric, her skin catching a pale, directional light that carves her form from the surrounding gloom. She looks upward, her gaze meeting the eyes of a man she believes to be a friend, yet the viewer sees the truth of his divinity. Jupiter stands near…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
This work, titled Vertumnus and Pomona, is a significant example of the mythological painting produced by Caesar van Everdingen. The piece is dated about 1637–1640, a period during which the artist was establishing his presence within the Dutch Golden Age. It is a work that captures a specific moment of classical narrative, rendered with the precision characteristic of his training in Utrecht.
In this 1641 portrait, we find ourselves standing before a dense assembly of men, the officers of the Orange Company of the Old Civic Guard. There is a certain weight to the composition, a horizontal arrangement that feels both crowded and deeply organized. These men are not merely subjects; they are a collective force, their postures providing a structural rhythm to the canvas. The lighting, descending from the upper left,…
This 1636 oil portrait presents a three-quarter length view of an elderly woman, Aechje Claesdr. Moer, set against a somber, atmospheric backdrop. The composition relies on a sharp tonal contrast between her dark, light-absorbing gown and a large, bright white ruff collar. This millstone ruff, with its rhythmic pleats, directs the eye toward the subject's face, which is rendered with naturalistic precision. A soft, directional light enters from the upper…
This Baroque-style oil painting presents an intimate mythological scene featuring two figures, Vertumnus and Pomona, set against a dark and atmospheric landscape. The composition centers on a tactile exchange of fruit between a seated figure on the left and a woman on the right. The scene is characterized by a dramatic use of chiaroscuro, where light highlights the faces and hands of the subjects while casting much of the background…
The work before us is the Portrait of an unknown girl, a quiet study by the Dutch Golden Age painter Caesar van Everdingen. This portrait, which is also known by the titles Girl in a Large Hat or Meisje met brede hoed, offers a glimpse into the meticulous portraiture practiced during the mid-17th century. It captures a sense of individual presence through a restrained and dignified approach to the subject.
The painting titled Officers and standard-bearers of New Civic Guard in Alkmaar was executed by the Dutch Golden Age painter Caesar van Everdingen. This large-scale work dates to about 1657. The subject matter consists of a group of officers and standard-bearers, who likely represent a civic militia. These men are gathered in a formal arrangement that reflects their communal role within the city of Alkmaar, Netherlands.
The oil on canvas titled Portrait of Cornelis Jacobsz. Groot (?-1661) presents a quiet encounter with a man of the Dutch Golden Age. Painted by Caesar van Everdingen,…
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The scene unfolds within the realm of myth, centered on the legendary Four Muses and Pegasus on Parnassus. In this gathering, the divine figures occupy a lush, somewhat…
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In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures…
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This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers…
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In this 1664 oil portrait, we encounter a woman of significant presence, captured in a three-quarter length view that feels both intimate and formal. She sits slightly off-center,…
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In this large-scale, formal Baroque portrait, Caesar van Everdingen organizes a structured, vertical composition that commands the viewer's attention. The primary subject is positioned centrally in a three-quarter…
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Four Evangelists: John by Caesar van Everdingen presents a vertical, full-length portrait of a youthful, long-haired figure, likely representing Saint John the Evangelist. Positioned slightly off-center, the subject…
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Four Evangelists: Luke by Caesar van Everdingen depicts a single male figure identified as Saint Luke. The subject is an elderly, bearded man shown in a side profile…
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The oil painting titled Four Evangelists: Mark was executed by the Dutch Golden Age painter Caesar van Everdingen. This work is dated 1676. The artist, born in Alkmaar,…
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Joueuse de Cistre is an oil painting by the Dutch Golden Age artist Caesar van Everdingen. Executed in 1678, the work captures a young woman engaged with a…
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In the sweeping, dramatic expanse of Caesar van Everdingen’s Allegory of the Birth of Frederik Hendrik, viewers are transported into a world where the boundaries between the earthly…
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A young woman is depicted in profile against a dark, monochromatic background. The light source originates from the upper left, casting a strong chiaroscuro effect across her form.…
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To stand before this canvas is to step directly into the vibrant, sometimes chaotic heart of 17th-century Dutch social life. Caesar van Everdingen’s depiction, "Diogenes Seeks a True…
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In this 1665 oil painting, we find ourselves in a quiet, darkened space where the interplay of shadow and light defines the subject. A woman, draped in a…
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The Oranjezaal is a large-scale room located within Huis ten Bosch in The Hague, Netherlands. The interior features a vaulted ceiling and walls covered in frescoes. These paintings…
A winged cherub sits enthroned upon red velvet, gazing with a serene, contemplative expression. In his hands, he cradles a glass orb, a sphere that catches the light…
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The composition centers on a man seated in a high-backed chair, wearing heavy royal attire and a crown. He occupies the central axis of the canvas, surrounded by…
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The painting titled Officers and Standard-Bearers of the Old Civic Guard is an oil on canvas work by the Dutch Golden Age painter Caesar van Everdingen. This composition…
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In the luminous realm of the Dutch Golden Age, few scenes capture the intoxicating essence of classical mythology as vibrantly as Caesar van Everdingen’s Nymphs Offering the Young…
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The room is still. Within this domestic space, Mary sits with her child upon her lap, a gesture of soft protection. Beside them, Joseph occupies the scene, his…
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A young girl stands poised in a landscape that feels alive with the quiet energy of the hunt. She holds a bow and arrow, her hands steady, while…
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The Portrait of a Two-Year-Old Boy is a captivating oil on canvas painting created by the renowned Dutch artist Caesar Van Everdingen in 1664. This stunning artwork is…
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Portrait of Elisabeth van Kessel, wife of Willem Jacobsz Baert. Halfway to the left, a fan in the left hand. Pendant of SK-A-1339.
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Portrait of Willem Jacobsz Baert, Mayor of Alkmaar and Amsterdam. Halfway through, standing with a glove in the left hand. Pendant of SK-A-1340.
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Pan and Syrinx. In the middle Syrinx, fleeing to the left for a male figure, who appeared right between the reed. She is half naked, dressed in a…
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A table sits heavy with the weight of harvest and ritual. Wine glasses, cups, and bowls are scattered across its surface, catching the light in a way that…
Tag den med hjem fra $181 →De fire motiver, der optræder hyppigst blandt disse mesterværker, med det fineste eksempel på hvert enkelt.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Caesar Van Everdingen | Malerier fra denne liste |
|---|---|---|---|
 Stedelijk Museum |
Alkmaar | 10 | Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Officers and standard-bearers of New Civic Guard in Alkmaar |
 Rijksmuseum |
Amsterdam | 6 | Woman praying, Winter, Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 1671 |
 Huis ten Bosch |
The Hague | 4 | Four Muses and Pegasus on Parnassus, Allegory of the Birth of Frederik Hendrik, View of the Oranjezaal |
 Nationalmuseum |
Stockholm | 2 | Jupiter and Callisto, Female Figure, possibly Lucretia |
 Kunsthandel P. de Boer |
2 | Portrait of Cornelis Jacobsz. Groot (?-1661), Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot | |
 Mauritshuis |
Haag | 2 | Diogenes Seeks a True Man, Still-Life with a Bust of Venus |
 Thyssen-Bornemisza Museum |
Madrid | 1 | Vertumnus and Pomona |
 J. Paul Getty Museum |
Los Angeles | 1 | Vertumnus and Pomona |
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a…
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a…
In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures…
This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers…
Woman praying (1650), Rijksmuseum, Amsterdam. Derefter følger Jupiter and Callisto (1655) og Winter (1646).
34 år gammel: Woman praying er fra 1650, og Caesar Van Everdingen blev født i 1616.
Woman praying, Jupiter and Callisto, Winter, Vertumnus and Pomona, Vertumnus and Pomona, Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Vertumnus and Pomona, Portrait of an unknown girl og Officers and standard-bearers of New Civic Guard in Alkmaar. Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 41 værker af Caesar Van Everdingen, dateret fra 1631 til 1678.
De fleste af dem findes i Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) og Huis ten Bosch (The Hague). Tabellen ovenfor lister museerne enkeltvis.
I 1650s: 12 af de 40 værker på denne side stammer fra denne periode, herunder Woman praying.
Det tidligste på denne side er Vertumnus and Pomona (1631), det seneste Joueuse de Cistre (1678).
Woman (12), Man (11) og Drapery (5), blandt de 40 værker på denne side.
Oil On Canvas: 15 ud af de 40 værker på denne side.
Baroque og Dutch golden age, som malerierne på denne side viser.
Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) og Officers and standard-bearers of New Civic Guard in Alkmaar er blandt de 10 værker på denne side, som er i Stedelijk Museum, Alkmaar's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
I den hollandske malerkunsts guldalder, hvor samspillet mellem lys og skygge definerede en nations visuelle identitet, trådte Caesar van Everdingen frem som en mester af subtil emotion og atmosfærisk dybde. Han blev født omkring 1616 i den historiske by Alkmaar i Holland, og hans kunstneriske rejse var dybt vævet sammen med sin families prestigefyldte slægt. Selvom han ofte diskuteres side om side med sine berømte brødre, Allart og Jan, formåede Caesar at skabe sit eget særprægede rum inden for den hollandske guldalder. Hans tidlige uddannelse under den respekterede Jan Gerritsz van Bronckhorst i Utrecht gav ham et strengt fundament i klassisk æstetik, hvilket indpodede en præcision i ham, der senere gjorde det muligt at transcendere ren teknisk dygtighed og opnå en sand kunstnerisk vision.
Hans professionelle opstigning tog for alvor fart i 1632, da han officielt blev optaget i lavet i Alkmaar. I disse formative år var hans repertoire præget af omhyggelige portrætter og stemningsfulde genrebilleder – værker, der krævede en intens observation af det menneskelige vilkår. Men i takt med at hans talent modnedes, voksede også hans ambitioner. Han bevægede sig ud over den bogstavelige repræsentations grænser og udviklede en unik evne til at manipulere penselstrøgene for at indfange lysets flygtige nuancer og atmosfærens tyngde. Denne udvikling markerede hans overgang fra en dygtig håndværker til en visionær maler, der var i stand til at indblæse liv i lærredet.
Et skelsættende kapitel i Van Everdingens liv udfoldede sig i 1648, da han flyttede til den livlige og kulturelt rige by Haarlem. Denne flytning var mere end blot et skift af omgivelser; det var en nedsænkning i hjertet af den hollandske kunstverden. Ved at indtræde i det prestigefyldte Skt. Lukas-lav i Haarlem og blive aktiv inden for schutterij (borgergarden), blev Caesar en integreret del af byens sociale og politiske elite. Disse forbindelser viste sig afgørende for at sikre de opgaver, der skulle definere hans historiske betydning.
Måske var det mest bjergtagende bedrift i hans karriere hans deltagelse i udsmykningen af Oranje Zaal (Appelsinsalen) i Huis ten Bosch. Dette monumentale foretagende krævede beherskelse af historiemaleriet i stor skala – en genre, der krævede både narrativ kompleksitet og storslået format. I denne sammenhæng demonstrerede Caesar sin formåen til at komponere episke scener, hvor han forenede historisk tyngde med en delikat berøring. Hans arbejde i denne periode udviste en spirende evne til at håndtere komplekse kompositioner, hvilket sikrede, at hans navn blev indgraveret i Hollands arkitektoniske historie.
I sine senere år vendte Caesar tilbage til sine rødder i Alkmaar, hvor han etablerede et værksted, der blev et fristed for kunstnerisk undervisning. Denne periode i hans liv var præget af en dyb dedikation til forædling af sit håndværk og mentorordning af en ny generation af malere. Hans sene værker reflekterer et livs akkumulerede visdom, karakteriseret ved en tilbagevendende fascination af himmelske og æteriske temaer. Han blev særligt berømt for sine skildringer af vingede figurer – engle og guddommelige væsener – fremstillet med en blødhed, der antydede det sublime nærvær.
Betydningen af Caesar van Everdingen ligger ikke kun i hans individuelle mesterværker, men også i hans rolle som en bro mellem det 17. århundredes stringente traditioner og de mere følelsesladede, atmosfæriske stilarter, der fulgte efter. Hans evne til at forene den hollandske portrætkunsts præcision med det historiske narrativs storhed står som et vidnesbyrd om hans alsidighed. I dag fungerer hans værker som vitale vinduer ind i den hollandske guldalders sjæl og minder os om en tid, hvor hvert penselstrøg var et forsøg på at indfange det evige i det forgængelige.
