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Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76)
Käsitööna maalatud õlireproduction alates $181 28 × 36 cm
Teos, mis tegi Peter Boy kuulsaks, on Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) (1679); see ripub Rijksmuseum-is, Amsterdam. Sellest 1 teosest, mis Peter Boy teosena meie kataloogis on, on need 1 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.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Peter Boy teosid | Selle nimekirja maalid |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 1 | Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) |
Kõik sellel lehel olevad Peter Boy kuupäevaga meistriteosed kuuluvad aastale 1679: siin on need.
Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) (1679)
29 aastat vanus: teos Adolf, Count of Nassau-Dillenburg-Schaumburg (1629-76) on aastatest 1679 ja kunstnik Peter Boy on sündinud aastal 1650.
Meie kataloogist leiate 1 teost kunstnikult Peter Boy.
Enamik neist asub Rijksmuseum (Amsterdam). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
The origins of Peter Boy remain partially obscured by the fog of the seventeenth century. Born about 1650 in Lübeck, Germany, he emerged from a landscape of maritime trade, yet the specific details of his early training are lost to history. No records survive to show where he first learned to manipulate metal or pigment. He simply appears in the historical record, a man defined by his craft rather than a documented apprenticeship.
Family life for Peter Boy was marked by three marriages, creating a lineage of skilled artisans. His first union was to Maria Katharina von den Popeliere. From this marriage, a son was born in 1681, Peter Boy the Younger, who would eventually follow his father's footsteps as a goldsmith and enamel painter. The family structure shifted again through his subsequent marriages, including a second union with Anna Rebecca Duve. This second marriage produced a son, Gottfried Boy, born in 1701, who would later achieve distinction as a royal court painter in Hanover.
Frankfurt am Main becomes the center of Boy's professional life in 1675 when he acquires citizenship in the Imperial City. He establishes a presence on the Zeil, securing a double house that serves as his residence and workshop for the next twenty-seven years. By 1677, he reaches the status of master goldsmith, a title that anchors his reputation within the city's craft guilds.
His studio functions as a site of dual expertise. He works with the precision required for miniature painting in enamel, a delicate process that demands intense focus. Yet, his output is not limited to these small-scale objects. He also produces large portrait paintings in oil, demonstrating a versatility that spans from the microscopic detail of enamel to the expansive scale of canvas portraits.
The year 1712 marks a definitive shift in Boy's trajectory. He leaves the commercial atmosphere of Frankfurt am Main for the courtly environment of Düsseldorf. This move is driven by a prestigious appointment: Johann Wilhelm, the Elector Palatine, names him gallery inspector and painter of cabinet pictures. The role places him at the heart of the court's visual administration. He also serves as a painter on enamel to the Palatine Elector Jean Guillaume.
His influence extends beyond the immediate halls of the Düsseldorf court. His reputation attracts a network of high-ranking patrons across the region. He secures commissions from the courts in Darmstadt, Detmold, and Hanover. This diverse clientele reflects a career built on both the precision of a goldsmith and the versatility of a miniaturist. While his work for the Electors defines his later years, his professional reach remains broad, encompassing the needs of various noble houses and religious institutions.
The scale of Boy's craftsmanship is most evident in his massive religious commissions. One of his primary works was a golden monstrance, a piece weighing approximately seven kilograms and encrusted with 737 gemstones. This object took the form of a tree, with Abraham serving as the trunk. It featured enamel miniatures depicting the genealogy of Jesus, tracing the lineage from Isaac and Jacob through to Matthew. While the monstrance was part of the Trier Cathedral treasury, it was destroyed in 1804 during the period of secularization. Only the enamel miniatures survived, now held in the possession of the Grand Duke of Luxembourg.
In 1691, Boy completed another significant liturgical object: a mitra weighing more than eight kilograms. This piece was created for the Landrentamtspretiosen, the "crown jewels" of the Electorate of Trier. Unlike the lost monstrance, this mitra remains preserved today in the Diözesanmuseum Limburg. His technical range extended from these heavy, precious metal objects to delicate cabinet pictures and enamel miniatures, marking him as a versatile figure in the intersection of goldsmithing and painting.