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Portrait of a Woman
Håndmalet oliereproduktion fra $181 29 × 34 cm
Samme størrelse som originalen $247 52 × 60 cm Bestil i original størrelse →
Dirck Carbasius's mest berømte maleri er Portrait of a Woman (1640) i Bavarian State Painting Collections, München. Vores katalog indeholder 2 værker af Dirck Carbasius; de 2 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
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.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Dirck Carbasius | Malerier fra denne liste |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 1 | Portrait of a Woman |
21 års værker af Dirck Carbasius, fra 1640 til 1660, år for år: de mest berømte malerier fra hvert år, i rækkefølge.
Portrait of a Woman (1640)
21 år gammel: Portrait of a Woman er fra 1640, og Dirck Carbasius blev født i 1619.
Vores katalog indeholder 2 værker af Dirck Carbasius, dateret fra 1640 til 1660.
De fleste af dem findes i Bavarian State Painting Collections (München). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Portrait of a Woman (1640), det seneste Portrait of a family returning from a hunt (1660).
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.
Dirck Carbasius lived a life shaped by the quiet rhythms of the Netherlands. Born in Hoorn in 1619, he was a man of dual identities, balancing the creative demands of a painter with the practical responsibilities of a brewer. This intersection of art and industry defined his existence in a bustling Dutch town. He remained in Hoorn throughout his life, eventually passing away there in 1681.
His presence in the community was marked by these two distinct roles. While many remember the painters of the Dutch Golden Age for their singular focus on the canvas, Carbasius navigated a different path. He managed the complexities of brewing while maintaining his practice as a visual artist. This duality suggests a man deeply rooted in the daily realities of his era.
To understand Carbasius is to look past the singular label of artist. His work emerged from a life that was as much about the production of ale as it was about the application of pigment. This connection to the practicalities of Dutch life provides a grounded perspective on his place in history.
Though his name may not carry the weight of the most famous masters, Carbasius represents the many individuals who contributed to the cultural fabric of the Netherlands. He was a part of a generation that saw the Dutch Republic reach a peak of artistic and commercial activity. His life reflects the multifaceted nature of the people who built that society, working with both the brush and the barrel.