Teos, mis tegi Caesar Van Everdingen kuulsaks, on Woman praying (1650); see ripub Rijksmuseum-is, Amsterdam. Jupiter and Callisto (1655) ja Winter (1646) järgnevad nende järel samas kogumiste ja muuseumi külastajate lemmikes Sellest 41 teosest, mis Caesar Van Everdingen teosena meie kataloogis on, on need 40 kõige imetlevamat, millist igaüks on esitatud koos kuupäeva, museumi ja oma eripärase tähelepanekuga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
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…
Tooge see koju alates $181 →Neli kõige sagedamini esinenud teemat nende meistriteoste seas, koos iga teema parima näitega.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Caesar Van Everdingen teosid | Selle nimekirja maalid |
|---|---|---|---|
 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 |
Haag | 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 muuseum |
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. Järgnevad Jupiter and Callisto (1655) ja Winter (1646).
34 aastat vanus: teos Woman praying on aastatest 1650 ja kunstnik Caesar Van Everdingen on sündinud aastal 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 ja Officers and standard-bearers of New Civic Guard in Alkmaar. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogis on 41 teost kunstnikult Caesar Van Everdingen, aastatest 1631 kuni 1678.
Enamik neist asub Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) ja Huis ten Bosch (Haag). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Ajalisel perioodil 1650s: 12 40 sellel lehel olevat teost on sellest ajast, მათhulgas Woman praying.
Sellel lehel on kõige vanem teos Vertumnus and Pomona (1631) ja kõige uuem Joueuse de Cistre (1678).
Woman (12), Man (11) ja Drapery (5), 40 teose seas sellel lehel.
Oil On Canvas: 15 40 teosest sellel lehel.
nagu sellel lehel olevad maalid näitavad Baroque ja Dutch golden age.
Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) ja Officers and standard-bearers of New Civic Guard in Alkmaar on üks 10 teosest sellel lehel, mida hoiab Stedelijk Museum, Alkmaar.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
Hollandi maaliami ajastu kuldajal, mil valgus ja vari omavaheline mäng määras kogu rahva visuaalse identiteedi, tõusevaks peenud emotsioonide ja atmosfäärilise sügavuse meistiks Caesar van Everdingen. Sündinud umbes 1616. aastal ajaloolises Hollandi linnas Alkmaar, oli tema kunstiline teekond sügavalt seotud tema päritolu prestiižse enough sugukonnaga. Kuigi teda arutatakse sageli koos tema kuulsate vendade Allart ja Janiga, suutsid Caesar ja Caesar lõi endale eraldi koha Hollandi kuldajajal. Tema varajane õppimine Austrias Utrechtis auast Jan Gerritsz van Bronckhorsti juures andis talle rangusa klassikalise esteetika aluse, instilleerides temasse täpsust, mis võimaldas teda hiljem ületada pelgama tehnilist oskust ja saavutada tõelise kunstilise visiooni.
Tema professionaalne kukoimine sai tõeliseks 1632. aastal, mil ta liitus ametlikult Alkmaari guildiga. Need kujunemisaastad olid tema repertuaari iseloomuliseks osaks hoolikalt tehtud portreid ja emotsionaalselt kütkavad žanriteened – teosed, mis nõudsid inimliku olemuse intensiivset jälgimist. Kuid koos tema talendi täitumisega kasvas ka tema ambitsioon. Ta astus välja puhtalt kirjandusliku esituse piiridest, arendades unikaalse võime manipuleerida pintooni, et tabada valgusest kaduvikke nüansse ja atmosfääri raskust. See areng märkis tema üleminekut oskuslikust käsitöölist visjonärlikuks maalari, kes suutas lõplatult ellu tuua kangi.
Van Everdingeni elu murdepunkt sündis 1648. aastal, mil ta koli kultuuriliselt rikkasse ja elavasse Haarlemu linna. See liikumine polnud pelgalt vaatevahetus; see oli sisseelamine Hollandi kunstimaailma südamesse. Liitudes prestiižsese Haarlemu Püha Luki guildiga ja muutudes aktiivseks schutterij (linnaväe) seas, sisse sulandus Caesar linna sotsiaalse ja poliitilise eliidi sotsiaalsete sidete kudelasse. Need kontaktid olid otsustaval rollil tellimuste hankimisel, mis lõpuks määras tema ajaloolise tähtsuse.
Esimene ja kütkestavaim tema karjääri saavutus oli osalemine Huis ten Bosch palatsis asuva Oranje Zaal (Kuldne saal) dekoreerimisel. See monumentaalne ülesanne nõudis suurskaalilise ajaloolise maali kunstiline meistriklassi – žanrit, mis eeldas nii narratiivset keerukust kui ka grandioosust. Selles keskkonnas demonstreeris Caesar oma võimekust koostada eepilisi stseene, ühendades ajaloolise tõsiduse peenelt puudutusega. Tema töö sel perioodil näitas kasvavat võimet hallata keerulisi kompositsiooni, tagades, et tema nimi jääks etgendaks Hollandi arhitektuurilisse ajalukku.
Tema elu lõppsaastatel naasis Caesar oma juurde Alkmaari, raamatues töökoja, mis sai kunstilise õpetuse pühakoda. See periood tema elus oli iseloomulik sügav pühendumus oma käsitöö täiustamisele ja uue maalari põlvkonna mentorile. Tema hilisema ajastu teosed peegeldavad kogu elu jooksul kogunenud tarkust, mida iseloomustas korduv fassinatsioon taevaslikud ja eeterilised teemad. Ta sai eriti kuulsaks oma lendivate figuuride – inglite ja jumalalikud olendid – kujutamistest, mis olid tehtud nii pehmusega, et need viitasid sublimeeritud korduse kohale.
Caesar van Everdingeni tähtsな ei peitu mitte ainult tema üksikutes meistriteostes, vaid ka tema rollis sillana 17. sajandi alguse rangete traditsioonide ja järglaste emotiivsemate ning atmosfääriliste stiilide vahel. Tema võime ühendada hollandi portreetide täpsust ajaloolise narratiivi suurendusega on tunnistus tema mitmekülgsusest. Täna toimivad tema teosed elutähtsad akenid Hollandi kuldaja lõmike, meelestades meid ajast, mil iga pintooni tõlgendus oli katsumus tabada igavuslikku asja asjalikust ja kaduvast.
