Mary with child (1430) er det mest berømte maleri af Konrad Witz, som er i Kunstmuseum Basels samling i Basel. Antipater before Julius Caesar (1435) og Abraham before Melchizedek (1435) er de næste to værker, som verden kender bedst. Udvalgt fra de 33 værker af Konrad Witz i vores katalog er her de 33, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
The air feels heavy with the scent of incense and the weight of devotion as we gaze upon this intimate encounter. A luminous, textured gold background envelops the figures, pushing them forward into our immediate space. This is not a scene of vast landscapes, but a close-up portrait of profound spiritual intimacy. Mary, draped in deep blues and soft pinks, holds the infant Jesus against a backdrop of embossed, patterned…
In this work, titled Antipater before Julius Caesar, the artist Konrad Witz presents a moment of profound political and personal tension. Created about 1435, the painting captures a specific encounter from Roman history, focusing on the interaction between the figure of Antipater and the Roman leader Julius Caesar. The scene is characterized by a sense of gravity, focusing on the weight of the figures and the significance of their meeting.
The scene unfolds in a compressed, intimate space where two figures command the center of the frame. On the left, a regal man sits enthroned, his presence defined by the heavy, sculptural folds of his deep crimson robes. Opposite him, a knight kneels in a gesture of reverence. They are locked in a ritualistic exchange, their hands meeting over a golden chalice that catches the light. This central interaction anchors…
In this 1435 portrait, St. Augustine is presented as a solemn and highly detailed figure within an interior setting. The subject is depicted as an elderly man with a weathered face, standing in a vertical profile-oriented composition. He is adorned in elaborate liturgical vestments, including a white alb and a heavy green cope featuring wide gold borders. Atop his head sits a tall white mitre decorated with gold. In his…
The air feels heavy with a sacred stillness as two figures emerge from a shimmering expanse of gold. On the left, Augustus, the Roman emperor, reaches upward, his hands raised in a sudden, trembling gesture of prayer or awe. He is draped in a voluminous red robe, the fabric heavy and sculptural, trimmed with thick grey fur that suggests a tangible, physical weight. His gaze is fixed on something unseen…
The Pietà is a painting attributed to the artist Konrad Witz. This work was executed about 1440. The subject matter depicts the Virgin Mary cradling the lifeless body of Jesus, a composition accompanied by two mourning figures in heavy, voluminous robes. The figures are set against a landscape that includes a detailed cityscape and a Gothic cathedral.
A reclining female figure dominates the composition, her pale skin luminous against a backdrop of deep crimson and forest green drapery. She lies horizontally across the frame, propped by white pillows that catch the directional light. One arm is tucked behind her head, while the other rests near her torso, creating a pose of relaxed poise. The heavy folds of the fabric suggest weight and texture, framing the subject within…
The river churns with a dark, restless energy, its surface broken into white foam and heavy, muddy swells. Through this turbulent water, a massive figure wades, his body leaning into the weight of the current. This is Saint Christopher, his muscles strained as he navigates the deep. Perched upon his shoulders sits the Christ Child, a small, luminous presence amidst the chaos of the elements. The saint’s tunic is a…
In "The Council of Salvation" by Konrad Witz, a celestial council unfolds within a highly detailed and ornate Late Gothic altarpiece design. The scene is structured around a central throne-like setting that anchors the divine assembly. To the left, God the Father, Christ, and the Holy Spirit, appearing as a dove, occupy the sacred space. Opposite them, on the right, two female figures face the divine presence. This arrangement creates…
In this work, titled St Bartholomew, the artist Konrad Witz presents a quiet, religious study of a saint. Created around 1435, the painting focuses on the figure of the apostle, rendered with a sense of stillness that invites close observation. The subject is depicted in a three-quarter pose, a choice that allows for a detailed view of his traditional attire and the subtle expression on his face.
Saint Christopher is an oil painting executed by Konrad Witz in 1435. The artist, a German and Swiss painter, produced this work during a period of significant transition…
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The painting titled Esther before Ahasuerus was executed by the artist Konrad Witz. This work dates to about 1435. It is a component of the larger Heilspiegel Altarpiece.…
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The painting titled St. Christopher is an oil on wood panel work by the artist Konrad Witz. This specific piece dates to about 1435. The artist was a…
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Konrad Witz’s “King Solomon and the Queen of Sheba” is not merely a depiction of an ancient biblical narrative; it's a profound meditation on power, wisdom, and the…
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To stand before this depiction of Christ on the Cross is to confront one of humanity's most enduring and profound narratives. Painted in 1430, this work by Konrad…
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The painting The Synagoge by Konrad Witz is a remarkable work of art that showcases the artist's skill and attention to detail. Created in 1435, this piece is…
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In this work from approximately 1435, we find ourselves witnessing a profound intersection between the temporal power of Rome and the spiritual revelations of the ancient world. The…
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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 Konrad Witz | Malerier fra denne liste |
|---|---|---|---|
 Kunstmuseum Basel |
Basel | 9 | Mary with child, Antipater before Julius Caesar, Abraham before Melchizedek |
 Gemäldegalerie |
Berlin | 3 | Saint Christopher (Berlin), The Council of Salvation, Crucifixion |
 Offentlig Kunstsamling Basel |
Basel | 3 | St Bartholomew, Saint Christopher, The Synagoge |
 Musée des Beaux-Arts de Dijon |
Dijon | 2 | St Augustine, Heilsspiegelaltar - Augustus and Sibyl of Tibur |
 Staatliche Museen zu Berlin |
Berlin | 2 | King Solomon and the Queen of Sheba, Christ on the Cross |
 Musée d'Art et d'Histoire |
Genève | 2 | The Liberation of St Peter, The Miraculous Draught of Fishes |
 The Frick Collection |
New York City | 1 | Pietà |
 Glasgow Museums Resource Centre |
1 | Byblis Writing to Caunus |
Konrad Witz arbejdede i 16 år, fra 1430 til 1445: her er den lange karriere år for år, gennem de mest kendte malerier.
The air feels heavy with the scent of incense and the weight of devotion as we gaze upon this intimate encounter. A luminous, textured gold background envelops the…
To stand before this depiction of Christ on the Cross is to confront one of humanity's most enduring and profound narratives. Painted in 1430, this work by Konrad…
In this work, titled Antipater before Julius Caesar, the artist Konrad Witz presents a moment of profound political and personal tension. Created about 1435, the painting captures a…
The scene unfolds in a compressed, intimate space where two figures command the center of the frame. On the left, a regal man sits enthroned, his presence defined…
In this 1435 portrait, St. Augustine is presented as a solemn and highly detailed figure within an interior setting. The subject is depicted as an elderly man with…
The air feels heavy with a sacred stillness as two figures emerge from a shimmering expanse of gold. On the left, Augustus, the Roman emperor, reaches upward, his…
In this work, titled St Bartholomew, the artist Konrad Witz presents a quiet, religious study of a saint. Created around 1435, the painting focuses on the figure of…
Saint Christopher is an oil painting executed by Konrad Witz in 1435. The artist, a German and Swiss painter, produced this work during a period of significant transition…
The painting titled Esther before Ahasuerus was executed by the artist Konrad Witz. This work dates to about 1435. It is a component of the larger Heilspiegel Altarpiece.…
The painting titled St. Christopher is an oil on wood panel work by the artist Konrad Witz. This specific piece dates to about 1435. The artist was a…
Konrad Witz’s “King Solomon and the Queen of Sheba” is not merely a depiction of an ancient biblical narrative; it's a profound meditation on power, wisdom, and the…
The Pietà is a painting attributed to the artist Konrad Witz. This work was executed about 1440. The subject matter depicts the Virgin Mary cradling the lifeless body…
The river churns with a dark, restless energy, its surface broken into white foam and heavy, muddy swells. Through this turbulent water, a massive figure wades, his body…
In "The Council of Salvation" by Konrad Witz, a celestial council unfolds within a highly detailed and ornate Late Gothic altarpiece design. The scene is structured around a…
Mary with child (1430), Kunstmuseum Basel, Basel. Derefter følger Antipater before Julius Caesar (1435) og Abraham before Melchizedek (1435).
30 år gammel: Mary with child er fra 1430, og Konrad Witz blev født i 1400.
Mary with child, Antipater before Julius Caesar, Abraham before Melchizedek, St Augustine, Heilsspiegelaltar - Augustus and Sibyl of Tibur, Pietà, Byblis Writing to Caunus, Saint Christopher (Berlin), The Council of Salvation og St Bartholomew. Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 33 værker af Konrad Witz, dateret fra 1430 til 1445.
De fleste af dem findes i Kunstmuseum Basel (Basel), Gemäldegalerie (Berlin) og Offentlig Kunstsamling Basel (Basel). Tabellen ovenfor lister museerne enkeltvis.
I 1435: 14 af de 33 værker på denne side stammer fra denne periode, herunder Antipater before Julius Caesar.
Det tidligste på denne side er Mary with child (1430), det seneste Saint Christopher (Berlin) (1445).
Religious (8), Man (7) og Woman (6), blandt de 33 værker på denne side.
Oil On Panel: 7 ud af de 33 værker på denne side.
Northern renaissance, som malerierne på denne side viser.
Mary with child, Antipater before Julius Caesar og Abraham before Melchizedek er blandt de 9 værker på denne side, som er i Kunstmuseum Basel, Basel'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 det skiftende landskab i det femtende århundredes europæiske kunst er der få skikkelser, der kaster en så lang skygge over overgangen fra gotisk tradition til renæssancens naturalisme som Konrad Witz. Witz blev født omkring år 1400 i den tyske region Rottenburg am Neckar og trådte frem som en visionær, hvis penselstrøg begyndende at afdække middelalderens stiliserede abstraktioner for at afsløre den levende, teksturerede verden nedenunder. Selvom meget af hans tidlige liv er indhyllet i historiens tåger, er hans tilstedeværelse i Basel, Schweiz, veldokumenteret, hvilket markerer ham som en mester, der blomstrede inden for datidens prestigefyldte lavsystemer. Hans rejse var præget af en dyb teknisk evolution, hvor han bevægede sig fra den sene gotiske kunsts stive formaliteter mod en hidtil uset hengivenhed til topografisk nøjagtighed og følelsesmæssig dybde.
Witz' sande geni ligger i hans evne til at forene det hellige narrativ med den fysiske verdens håndgribelige virkelighed. Han er mest berømt for sin pionerrolle inden for landskabsmaleri, en bedrift der kulminerer i hans mesterværk, Den mirakuløse fiskefangst. I dette værk identificerer forskere et af de tidligste eksempler på en trofast, genkendelig topografisk scene i vestlig kunst. I stedet for at præsentere en generisk, symbolsk baggrund, indfangede Witz stedets specifikke essens og inviterede beskueren til at træde ind i et genkendeligt miljø. Denne innovation transformerede landskabet fra blot at være en scene for religiøst drama til at blive en levende protagonist, i stand til at formidle atmosfære, lys og dybde.
Witz' værk er karakteriseret ved en åndeløs dualitet: evnen til at udføre monumentale, komplekse altertavler, samtidig med at han bevarer et intimt og rørende præg i mindre, andægtige scener. Hans Heilspiegel-altertavle står som en triumf i hans karriere og fremviser det omhyggelige håndværk, der krævedes til kirkelige bestillingsopgaver på højt niveau. Gennem indviklet udskårne paneler og levende freskoer vævede Witz bibelske fortællinger og helgenfigurer sammen med en detaljegrad, der indgydede ærefrygt. Dette værk tjener som et vidnesbyrd om hans beherskelse af den sene gotiske stil, selv mens han begyndte at eksperimentere med den spirende realisme, der skulle definere det kommende århundrede.
Udover altertavlenes storslåede skala er Witz' talent for at indfange menneskelige følelser dybt tydeligt i værker som Kristus på korset. Her forener kunstneren gotisk drama med en tidlig, rå realisme og bruger subtil skyggelægning og ekspressive gestus til at fremkalke en dyb følelse af patos. På samme måde demonstrerer hans skildring af Kong Salomon og dronningen af Saba hans evne til historiefortælling gennem rige detaljer og landskabelig innovation, hvor han illustrerer bibelsk storhed gennem en linse af renæssancens kunstneriske formsprog. Uanset om han malede en helgens stille sorg eller monarkernes majestætiske møde, benyttede Witz lys og form til at bygge bro mellem det guddommelige og den menneskelige erfaring.
Den historiske betydning af Konrad Witz kan ikke overvurderes; han fungerede som en vital forbindelseslinje mellem to epoker. Hans udvikling repræsenterer den langsomme, bevidste bevægelse væk fra det 14. århundredes symbolske sprog mod renæssancens observationelle videnskab. Ved at integrere genkendelige landskaber og naturalistiske teksturer i den religiøse ikonografi banede han vejen for fremtidige generationer af nordeuropæiske malere til at udforske den naturlige verdens skønhed.
Hans vedvarende eftermæle findes i følgende kunstneriske milepæle:
Selvom hans liv var relativt kort og sluttede omkring 1446, er Konrad Witz' indflydelse stadig indgraveret i den vestlige malerkunsts fundament. Han lærte øjet at kigge nærmere på jorden og himlen og finde det hellige i selve de detaljer, som udgør den verden, vi bebor.
