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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
Ranku tapytos aliejaus reprodukcija nuo $181 29 × 35 cm
Pusė kaip originalo $280 58 × 74 cm Užsakyti originalaus dydžio →
Veržė Conrad Meyer šlovę tapyba Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); ji eksponuojama Škotijos Nacionalinė galerija, Edinburgas. Portrait of Hans Conrad Lavater (1686) ir Portrait of Cleophea Lavater (1686) seka juos kolekcionerių bei muziejų lankytojų širdyse. Iš 3 Conrad Meyer kūrinių mūsų kataloge, šios 3 yra labiausiai gerbiamos – kiekvienas jų pateikiamas su datos, muziejaus ir išskirtinės ypatybės aprašymu.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta lapkritis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
2 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Conrad Meyer darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Museum Zurich |
Zurich | 2 | Portrait of Hans Conrad Lavater, Portrait of Cleophea Lavater |
 Škotijos Nacionalinė galerija |
Edinburgas | 1 | Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) |
Nuo 1661 iki 1686 – 26 metų Conrad Meyer kūrybos, metopas po metapų, per geriausius jo/jos paveikslus.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Škotijos Nacionalinė galerija, Edinburgas. Toliau yra Portrait of Hans Conrad Lavater (1686) ir Portrait of Cleophea Lavater (1686).
43 metų amžiaus: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) sukurta 1661 m. ir Conrad Meyer gimė 1618.
Mūsų kataloge yra 3 Conrad Meyer darbų, datuojamų nuo 1661 iki 1686.
Dauguma jų yra National Museum Zurich (Zurich) ir Škotijos Nacionalinė galerija (Edinburgas). Viršuje esančiame lange muziejai išvardyti po vieni.
1686 laikotarpyje: 2 iš 3 šioje pusėje esančių darbų sukurtos tada, iš jų – Portrait of Hans Conrad Lavater.
Pirmasis šioje pusėje yra Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), paskutinis – Portrait of Hans Conrad Lavater (1686).
Portrait of Hans Conrad Lavater ir Portrait of Cleophea Lavater yra vieni iš 2 šioje puslapyje esamų darbų, kuriuos saugo National Museum Zurich, Zurich.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip muziejoriaus kokybės rankų darbų alievinę kopiją arba aukščiausios kokybės spausdinį pasirinktu jūsų pageidaujamu dydžiu tiesiai iš paties paveikslą puslapio.
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.