Lambert Simon의 가장 유명한 작품은 위트레흐트의 Museum Catharijneconvent에 있는 Adoration of the Lamb of God, four singing angels with banners (1933)입니다. Portrait of Johannes Maria Vianney, also called the Curé of Ars (1940)와 Pieta (1950)를 더해, 누구나 알 법한 세 가지 작품이 완성됩니다. Lambert Simon의 작품 5점이 카탈로그에 등록되어 있습니다. 아래의 5점은 전 세계에서 가장 주목받는 작품들로, 각 작품의 제작 연도, 소장 박물관 및 예술적 가치를 함께 보여줍니다.
각 작품의 검색, 방문 및 주문 수를 결합한 인기 점수를 기준으로 순위를 매깁니다. 11월 2026 업데이트됨.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 1개의 미술관
| 소장 미술관 | 도시 | Lambert Simon의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 Museum Catharijneconvent |
위트레흐트 | 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, 위트레흐트. 다음은 Portrait of Johannes Maria Vianney, also called the Curé of Ars (1940)와(과) Pieta (1950)입니다.
24세: Adoration of the Lamb of God, four singing angels with banners은(는) 1933년 작품이며, Lambert Simon은(는) 1909년에 태어났습니다.
Lambert Simon의 작품 5점을 1933년부터 1963년 사이의 연대로 분류하여 목록에 담았습니다.
대부분의 작품은 Museum Catharijneconvent (위트레흐트)에 소장되어 있습니다. 위 표에 각 박물관 목록이 나열되어 있습니다.
1950s 기간 동안: 이 페이지의 총 5점의 작품 중 2점이 해당 시기의 작품이며, 그중 Pieta점이 포함되어 있습니다.
이 페이지의 가장 오래된 작품은 Adoration of the Lamb of God, four singing angels with banners (1933), 가장 최근 작품은 Portrait of Johannes de Jong (1885-1955) (1963)입니다.
Adoration of the Lamb of God, four singing angels with banners, Portrait of Johannes Maria Vianney, also called the Curé of Ars 및 Pieta은(는) Museum Catharijneconvent, 위트레흐트이(가) 소장한 이 페이지의 작품 5점 중 일부입니다.
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.