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Room Divider with Interior of the War Council Chamber in the Doelengebouw
Håndmalet oliereproduktion fra $1281 42 × 24 cm
Maleriet, der gjorde Simon Klapmuts berømt, er Room Divider with Interior of the War Council Chamber in the Doelengebouw (1770); det hænger på Museum Gouda i Gouda. Af de 6 værker af Simon Klapmuts i vores katalog er disse 2 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.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Simon Klapmuts | Malerier fra denne liste |
|---|---|---|---|
 Museum Gouda |
Gouda | 2 | Room Divider with Interior of the War Council Chamber in the Doelengebouw, Fragment of Room Screen |
Hvert dateret mesterværk af Simon Klapmuts på denne side tilhører 1770: her er de.
Room Divider with Interior of the War Council Chamber in the Doelengebouw (1770)
36 år gammel: Room Divider with Interior of the War Council Chamber in the Doelengebouw er fra 1770, og Simon Klapmuts blev født i 1734.
Vores katalog indeholder 6 værker af Simon Klapmuts.
De fleste af dem findes i Museum Gouda (Gouda). Tabellen ovenfor lister museerne enkeltvis.
I 1770: 2 af de 2 værker på denne side stammer fra denne periode, herunder Room Divider with Interior of the War Council Chamber in the Doelengebouw.
Room Divider with Interior of the War Council Chamber in the Doelengebouw og Fragment of Room Screen er blandt de 2 værker på denne side, som er i Museum Gouda, Gouda'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.
Simon Klapmuts was born in Moordrecht, the son of Willem Simonsz Klapmuts and Maria Willems Soos. His presence in the local records begins with his baptism on 24 January 1734. He spent his life as a painter, drawer, printmaker, and etcher, working within the Dutch Republic. His hands were accustomed to the fine lines of etching and the steady application of paint.
In 1755, he married Hester Langhoorn. His life remained tied to the region, moving through the years as a practitioner of his craft. He eventually passed away in Moordrecht in 1780. He was laid to rest in the same town, with his burial occurring on 16 February 1780.
Klapmuts worked primarily in the area of Gouda, keeping his practice close to the familiar landscapes and structures of the region. His output was concentrated in a relatively short window, with his active years spanning from about 1768 until his death in 1780. He moved between different mediums, working as a painter, an etcher, and a draftsperson. This versatility allowed him to capture the same subjects through different technical lenses, from the fine lines of a print to the broader application of paint on a surface.
His technical focus often shifted toward the specific details of local life and architecture. He spent much of his time producing etchings and drawings that documented the surroundings of the Dutch Republic. Some of his efforts were directed toward large-scale decorative objects, such as folding screens, which required a different approach to composition than his smaller, more intimate studies. His hand was as comfortable with the precision of a needle on a copper plate as it was with a brush on a canvas.
Klapmuts often worked on large-scale functional objects, specifically room screens and dividers. Around 1770, he painted a room divider featuring the interior of the War Council Chamber in the Doelengebouw. His hand is also seen in a part of a folding screen depicting the interior of the krijgsraadkamer in the same building, as well as a fragment of a room screen from about 1770. These pieces suggest a focus on capturing specific, enclosed spaces and the light within them.
His interest in the local landscape and civic life is evident in his depictions of Gouda. He painted a scene of the training ground of the Gouda militia, showing the Vrouwentoren in the background. Another screen from his hand shows the interior of the Sint Jorisdoelen. Beyond these structured settings, he produced various landscapes, including views of the Berkenwoude in the Krimpenerwaard. His work moves between the detailed, contained interiors of civic buildings and the open, quiet stretches of the Dutch countryside.