Lambert Simonの最も有名な作品は、ユトレヒトのMuseum Catharijneconventに所蔵されているAdoration of the Lamb of God, four singing angels with banners (1933)です。 Portrait of Johannes Maria Vianney, also called the Curé of Ars (1940)とPieta (1950)を合わせ、誰もが知る3つの名作が揃いました。 当カタログにはLambert Simonによる5点の作品が掲載されています。以下の5点は、世界で最も注目されている作品であり、制作年、所蔵美術館、そしてその重要性についてまとめています。
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絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Lambert Simonの作品 | このリストの絵画 |
|---|---|---|---|
 Museum Catharijneconvent |
ユトレヒト | 5 | Adoration of the Lamb of God, four singing angels with banners, Portrait of Johannes Maria Vianney, also called the Curé of Ars, Pieta |
Adoration of the Lamb of God, four singing angels with banners (1933)（Museum Catharijneconvent, ユトレヒト）。続いてPortrait of Johannes Maria Vianney, also called the Curé of Ars (1940)、そしてPieta (1950)が続きます。
24歳：Adoration of the Lamb of God, four singing angels with bannersは1933年の作品で、Lambert Simonは1909生まれです。
当カタログには、1933年から1963年にかけて制作されたLambert Simonによる5点の作品が掲載されています。
その多くはMuseum Catharijneconvent (ユトレヒト)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。
1950sにおける作品は、このページにある全5点のうち2点にのぼり、その中にはPietaが含まれます。
このページで最も古い作品はAdoration of the Lamb of God, four singing angels with banners (1933)、最新の作品はPortrait of Johannes de Jong (1885-1955) (1963)です。
Adoration of the Lamb of God, four singing angels with banners, Portrait of Johannes Maria Vianney, also called the Curé of Ars と Pietaは、Museum Catharijneconvent, ユトレヒトが所蔵するこのページ内の5点の作品のうちの一つです。
The creative trajectory of Lambert Simon begins in Den Helder, Netherlands, where he was born on July 20, 1909. His professional activity spans over six decades, a period of constant production that stretches from 1924 until his death in Utrecht on October 10, 1987. He was a versatile figure in the Dutch art scene, working across various media. His hands moved between the precision of drawing and the physical demands of sculpture and muralism. He was a painter, draftsman, sculptor, muralist, and glass painter.
His life was marked by movement between significant urban centers. He lived and worked in Den Helder, Paris, and Utrecht. In Utrecht, he became a member of the Genootschap Kunstliefde. This period of his life saw him expanding his reach beyond the canvas, engaging with the architectural and spiritual spaces of the Netherlands through his work in glass and murals. His presence in the art world was defined by this breadth of technical skill, moving from the intimate scale of a watercolorist to the monumental scale of a mosaicist.
Simon’s professional life moves between the coastal atmosphere of Den Helder and the urban centers of Paris and Utrecht. In Utrecht, his presence is marked by his membership in the Genootschap Kunstliefde. This affiliation places him within the specific artistic circles of the city, connecting his practice to the local institutional landscape.
The act of instruction forms a significant part of his career. He moves from the classroom to the studio, sharing technical knowledge with the next generation of practitioners. His teaching roles are split between different academic environments, spanning from the southern reaches of the Netherlands to the central provinces.
He holds positions at two distinct institutions. In Breda, he provides instruction at the St. Joostacademie. His influence extends to Utrecht, where he teaches at the Vrije Academie. These roles establish him as a figure active in both formal and alternative educational settings.
In 1945, the focus shifts to the Begijnhofkapel in Amsterdam. To mark the 600th anniversary of the Miracle of Amsterdam, Simon produces eight paintings. These works are positioned along the edge of the balustrade. They remain hidden for decades, only to be rediscovered in June 2012.
The scale of his work expands in Nijmegen between 1957 and 1959. Here, he executes four large stained-glass windows for the Antonius van Paduakerk. These windows consist of a rosette with three registers. The commission celebrates the 40th anniversary of the church and the jubilee of dean-pastor C. van Dijk. The iconography of these windows reflects the Bible-oriented Nouvelle Théologie, a French movement that influenced the Netherlands in the decades following the Second World War.