Anders Bergiusの名作として知られるのはUnknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness (1750)で、ストレングセスのNational Portrait Gallery of Swedenに所蔵されています。 コレクターや美術館の来場者の心には、Portrait of Anna Siemens (1774)、そしてPortrait of Hulleborg Hielm, born Abel (1780)が続いています。 当カタログに含まれるAnders Bergiusの全8作品のうち、特に高く評価されている8作品をご紹介します。各作品には制作年、所蔵美術館、そしてその作品ならではの特徴が添えられています。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026 このページに掲載されているすべての名作は、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
このページに掲載されている絵画を最も多く所蔵している 4 の美術館
| 美術館 | 都市 | Anders Bergiusの作品 | このリストの絵画 |
|---|---|---|---|
 National Portrait Gallery of Sweden |
ストレングセス | 1 | Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness |
 Trondheim Kunstmuseum |
トロンハイム | 1 | Portrait of Anna Siemens |
 国立美術館・建築・デザイン美術館 |
オスロ | 1 | Portrait of Hulleborg Hielm, born Abel |
 Oslo Museum |
オスロ | 1 | Portrait of Eleonore Leuch |
Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness (1750)（National Portrait Gallery of Sweden, ストレングセス）。続いてPortrait of Anna Siemens (1774)、そしてPortrait of Hulleborg Hielm, born Abel (1780)が続きます。
32歳：Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baronessは1750年の作品で、Anders Bergiusは1718生まれです。
当カタログには、1750年から1780年にかけて制作されたAnders Bergiusによる8点の作品が掲載されています。
その多くはNational Portrait Gallery of Sweden (ストレングセス), Trondheim Kunstmuseum (トロンハイム) と 国立美術館・建築・デザイン美術館 (オスロ)に所蔵されています。上記の表に各美術館を一覧で記載しています。
1770sにおける作品は、このページにある全8点のうち4点にのぼり、その中にはPortrait of Anna Siemensが含まれます。
このページで最も古い作品はUnknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness (1750)、最新の作品はPortrait of Hulleborg Hielm, born Abel (1780)です。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
Born on 4 January 1718 in Kristinehamn, Anders Bergius entered a world shaped by the commerce of the Swedish coast. He was the son of Johan Bergius, a merchant, and Stina Gravall. His early years in Sweden provided a foundation that would eventually lead him toward a life of varied craftsmanship and artistic pursuit. While his lineage was rooted in trade, his own path would be defined by a restless movement across Northern Europe.
His professional life was characterized by a remarkable versatility. In Gothenburg, he operated as a manufactorist and portrait painter between 1748 and 1767. This period of his life saw him experimenting with diverse media, including the production of waxcloth and leather wallpapers. He even developed a specific method for painting on mirror glass, inspired by Chinese techniques, which reflected a curiosity for the decorative arts of the era.
The later years of his life were marked by a series of migrations. After a period in Copenhagen, he moved through Norway, finding work in Bergen, Trondheim, and Kristiania. He functioned as both a portrait painter and a restorer of paintings, a dual role that required both creative vision and technical precision. He eventually returned to Copenhagen, where he remained until his death on 4 June 1793.
The early 1770s marked a significant shift in Bergius's life as he moved from Copenhagen to Norway. His presence in the region was characterized by a versatile approach to his craft, moving between the creation of new images and the preservation of existing ones. In Bergen, where he was active from 1773 to 1776, he balanced his duties as a portrait painter with the technical work of a painting restorer. This dual role required both the creative eye of an artist and the meticulous hand of a technician.
His travels continued through the Norwegian landscape as his professional requirements shifted. Between 1776 and 1778, he established himself in Trondheim, maintaining his practice before moving toward Kristiania. His time in Kristiania was brief, lasting until 1779, before he eventually returned to Copenhagen. Much of his most significant work from this period is preserved within Norwegian collections, reflecting the impact of his years spent navigating these northern cities.
Bergius was a man of varied technical pursuits, often operating at the intersection of fine art and specialized craftsmanship. During his time in Sweden, his portraiture adopted a Rococo character, mirroring the stylistic sensibilities of the era. He was not content with traditional oil on canvas alone; instead, he sought out more unusual surfaces. He developed a method for painting on mirror glass, utilizing a technique inspired by Chinese styles to achieve specific visual effects. This experimentation with light and reflection demonstrated a restless curiosity regarding how pigment interacts with different substrates.
His later years were marked by a deep preoccupation with the preservation of art. While living in Copenhagen, he dedicated much of his time to the study and practice of painting restoration. This technical focus led to a significant achievement in 1771, when he was awarded a silver medal by the Royal Danish Household Society. The honor was granted in recognition of a specific restoration method he had invented. Though he later attempted to present this method to the Danish Academy, his legacy remains tied to this blend of portraiture and the meticulous science of conservation.
