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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
Käsinmaalattu öljyreprosentio alkaen $181 29 × 35 cm
Sama koko kuin alkuperäisessä $280 58 × 74 cm Tilaa alkuperäisen kokoisena →
Maalaus, joka teki Conrad Meyer kuuluisaksi, on Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); se on esillä Scottish National Gallery -museossa, kaupungissa Edinburgh. Portrait of Hans Conrad Lavater (1686) ja Portrait of Cleophea Lavater (1686) seuraavat perässä keräilijöiden ja museovieraiden suosikeissa. Conrad Meyer teoksista 3 teoksen valikoimassamme nämä 3 ovat arvostetuimpia; jokaisesta on esitelty päivämäärä, museo sekä teoksen erityispiirteet.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen haut, vierailut ja tilaukset. Päivitetty marraskuu 2026. Jokainen tämän sivun mestariteos on tilattavissa museolaatuisena, käsinmaalattuna öljyreproduktiona tai taideprinttinä valitsemassasi koossa.
Tämän sivun teoksista eniten sisältävät 2 museota.
| Museo | Kaupunki | Conrad Meyer teokset | Tämän listan maalaukset |
|---|---|---|---|
 National Museum Zurich |
Zurich | 2 | Portrait of Hans Conrad Lavater, Portrait of Cleophea Lavater |
 Scottish National Gallery |
Edinburgh | 1 | Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) |
Vuosien 1661–1686 väliseltä ajalta, 26 vuotta Conrad Meyerin taidetta, vuosi vuodelta, parhaiden maalauksien kautta.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edinburgh. Seuraavina ovat Portrait of Hans Conrad Lavater (1686) ja Portrait of Cleophea Lavater (1686).
43 vuotta vanha: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) on peräisin vuodelta 1661 ja Conrad Meyer on syntynyt vuonna 1618.
Luettelossamme on 3 teosta taiteilijalta Conrad Meyer, aikaväliltä 1661–1686.
Suurin osa niistä sijaitsee kohteessa National Museum Zurich (Zurich) ja Scottish National Gallery (Edinburgh). Yllä oleva taulukko listaa museot yksitellen.
Ajanjaksona 1686: 2 sivun 3 teoksista on peräisin tuolta ajalta, mukaan lukien Portrait of Hans Conrad Lavater.
Tämän sivun vanhin on Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661) ja uusin Portrait of Hans Conrad Lavater (1686).
Portrait of Hans Conrad Lavater ja Portrait of Cleophea Lavater ovat yksi 2 teoksesta tällä sivulla, jotka kuuluvat National Museum Zurich, Zurich kokoelmaan.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata museolaatuisena, käsinmaalattuna öljyreprospektina tai taidepainoksena valitsemassasi koossa suoraan maalauksen omalta sivulta.
Born in Zurich on 3 October 1618, Conrad Meyer entered a world where art was a family trade. His father, Dietrich Meyer the Elder, provided his first lessons in painting and engraving, establishing a foundation of technical discipline that would define his career. This early training was not confined to the walls of a single studio; between 1638 and 1642, Meyer moved through Bern and Solothurn before reaching Germany. In Frankfurt, he sought the company of Matthäus Merian the Elder, an encounter that likely expanded his understanding of the printed image.
His life was anchored in the Old Swiss Confederacy, yet his vision was expansive. He returned to Zurich, where he established himself as a central figure in the local artistic community. His marriage to Susanna Murer in 1649 brought him into connection with established families, and his son, Johannes Meyer the Younger, would eventually follow his father's footsteps into the arts. While much of his life was spent within the familiar borders of Zurich, his work reflected a man who looked closely at the world around him.
Meyer possessed a versatility that allowed him to move between the heavy application of oil on canvas and the delicate precision of the needle. He was a prolific creator of prints, with approximately 1,000 surviving illustrations and designs. His hand was equally capable in religious and historical scenes as it was in the more intimate realms of portraiture. He accepted commissions from Catholic patrons, producing over 100 etched images of saints, demonstrating an ability to navigate the diverse spiritual landscape of his era.
His printmaking often served a civic purpose. In 1645, he created an etching regarding table manners for the Zurich civic library’s New Year publication, a work intended to instruct the youth on proper behavior. This tradition of annual publications became a fixture of the city's cultural life. His portraiture was another significant pillar of his practice; he produced around 200 portraits, capturing the likenesses of guild masters, councillors, and clergy members with a steady, observant eye.
Perhaps Meyer’s most enduring contribution to the Swiss tradition was his approach to the landscape. He was among the first to treat the natural world as an independent subject rather than a mere backdrop for human drama. His 1647 painting of the Rhine Falls is noted for being one of the earliest topographically accurate depictions of that site. He did not merely observe from a distance; he engaged with the terrain through direct study.
Between 1653 and 1657, Meyer traveled through Switzerland four times alongside Jan Hackaert. During a 1655 expedition through the Glarus region, he produced large drawings based on the close observation of mountain landscapes. These works are recognized as early landmarks in the development of Alpine painting. By documenting the high Alps with such topographical focus, he laid the groundwork for future generations of artists who would seek to capture the rugged character of the Swiss landscape.