Samuel Hoffmannの最も有名な作品は、アムステルダムの国立美術館に所蔵されているPortrait of an Old Man (1638)です。 Dead game and four figures (1612)とThe Countess of Mansfeldt (1628)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Samuel Hoffmannによる10点の作品が掲載されています。以下の9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。
The work before us is titled Portrait of an Old Man, a significant oil on canvas painted by the artist Samuel Hoffmann. Created in 1638, this portrait captures a moment of quiet dignity. The subject is an elderly man, though his specific identity remains a matter of scholarly discussion. While he is often categorized as an unknown sitter, some observations suggest he may be Arend Jacobsz van der Graeff.
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 5 の美術館
| 美術館 | 都市 | Samuel Hoffmannの作品 | このリストの絵画 |
|---|---|---|---|
 Statens Museum For Kunst |
コペンハーゲン | 3 | The Countess of Mansfeldt, The Count of Mansfeldt, Portrait of a Man |
 ワルシャワ国立博物館 |
ワルシャワ | 2 | Portrait of a woman aged 69, Portrait of a man aged 70. |
 国立美術館 |
アムステルダム | 1 | Portrait of an Old Man |
 Museum Mayer van den Bergh |
アントワープ | 1 | Dead game and four figures |
 シュテデル美術館 |
フランクフルト | 1 | Portrait of a Woman |
The work before us is titled Portrait of an Old Man, a significant oil on canvas painted by the artist Samuel Hoffmann. Created in 1638, this portrait captures…
Portrait of an Old Man (1638)（国立美術館, アムステルダム）。続いてDead game and four figures (1612)、そしてThe Countess of Mansfeldt (1628)が続きます。
43歳：Portrait of an Old Manは1638年の作品で、Samuel Hoffmannは1595生まれです。
当カタログには、1612年から1638年にかけて制作されたSamuel Hoffmannによる10点の作品が掲載されています。
その多くはStatens Museum For Kunst (コペンハーゲン), ワルシャワ国立博物館 (ワルシャワ) と 国立美術館 (アムステルダム)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。
1630sにおける作品は、このページにある全9点のうち4点にのぼり、その中にはPortrait of an Old Manが含まれます。
このページで最も古い作品はDead game and four figures (1612)、最新の作品はPortrait of an Old Man (1638)です。
The Countess of Mansfeldt, The Count of Mansfeldt と Portrait of a Manは、Statens Museum For Kunst, コペンハーゲンが所蔵するこのページ内の3点の作品のうちの一つです。
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。
In the grand tapestry of twentieth-century soundscapes, few figures possess a legacy as hauntingly beautiful and technically singular as Samuel J. Hoffman. While history often remembers him through the lens of cinematic tension, his life was a profound intersection of classical discipline and avant-garde innovation. Born in New York City in 1903, Hoffman’s journey began not with the electronic whispers of the theremin, but with the disciplined strings of the violin. A prodigy who began performing professionally at the tender age of fourteen, he navigated the vibrant jazz and swing scenes of New York under the moniker Hal Hope, leading orchestras that defined the rhythmic pulse of an era.
The turning point in Hoffman’s artistic evolution arrived through a serendipitous encounter with debt. In the early 19 and 30s, he acquired a 1929 RCA theremin—an instrument played without physical contact, manipulating electromagnetic fields through the movement of hands in the air. This acquisition transformed him from a traditional instrumentalist into a pioneer of electronic music. He seamlessly integrated this otherworldly sound into his swing ensembles, eventually forming the Hal Hope’s Electronic Trio. This experimental fusion of the Hammond organ, electric cello, and the ethereal theremin pushed the boundaries of what audiences believed musical instruments could achieve, blending the tangible with the intangible.
The true historical significance of Hoffman’s work crystallized within the golden age of Hollywood. His unique ability to read music—a rarity among thereminists of the time—made him an indispensable asset to the great composers of the silver screen. When composer Miklos Rozsa sought to infuse Alfred Hitchcock’s Spellbound (1945) with a sense of psychological instability, Hoffman was the only choice. The resulting score, which earned an Academy Award nomination, utilized the theremin's wavering pitch to mirror the fractured psyche of the film's protagonists. This mastery of atmosphere established a sonic blueprint for the horror and noir genres.
Throughout the late 1940s, Hoffman’s haunting melodies became the heartbeat of cinematic suspense. His contributions to films such as The Spiral Staircase and The Red House utilized the instrument's ability to evoke dread, longing, and the supernatural. Yet, his talent was not confined to the shadows of film noir; he also demonstrated a remarkable versatility by performing in lighter, more melodic contexts, such as the Bing Crosby and Bob Hope comedy Road to Rio. This duality—the ability to move between the terrifying and the whimsical—remains a testament to his profound musical intelligence.
Beyond the recording studios and film sets, Hoffman lived a life of fascinating dualities. In a remarkable feat of professional balance, he became a practicing podiatrist, relocating to Los Angeles in 1941. This unique juxtaposition of medical precision and musical abstraction led many to refer to him affectionately as "Doctor" Hoffman. Even while tending to his medical practice, he remained a vital force in the music industry, collaborating on landmark recordings like Music Out of the Moon, which stands as one of the most successful theremin albums ever released.
The legacy of Samuel Hoffman is not merely found in the notes he played, but in the way he expanded the emotional vocabulary of modern music. He bridged the gap between the classical tradition and the electronic future, proving that an instrument played by the mere movement of air could carry the weight of human emotion. His work remains a cornerstone of cinematic history, reminding us that the most profound art often emerges from the unexpected meeting of science, soul, and sound.