1
Hyrdescene
Hand-painted oil reproduction from $206 35 × 28 cm
Same size as the original $229 47 × 38 cm Order at original size →
Johan Edvard Mandelbergs mest kjente maleri er Hyrdescene (1760), i Statens Museum for Kunst, København. Sammen med Hermes befaler Kalypso at frigive Odysseus (1765) og Antikke ruiner omgivet af træer, i forgrunden en hyrde og nogle geder (1765) utgjør de de tre verkene som alle kjenner igjen. Vår katalog inneholder 8 verk av Johan Edvard Mandelberg; de 8 nedenfor er de som verden ser mest på, hver med årstall, museet som huser verket og hvorfor det er betydningsfullt.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
De 2 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Johan Edvard Mandelberg | Malerier fra denne listen |
|---|---|---|---|
 Statens Museum for Kunst |
København | 5 | Hyrdescene, Hermes befaler Kalypso at frigive Odysseus, Antikke ruiner omgivet af træer, i forgrunden en hyrde og nogle geder |
 Nationalmuseum |
Stockholm | 3 | Battle Scene, The Mill, The Stone Bridge |
Johan Edvard Mandelberg malte i knappe 10 år, fra 1756 til 1765: følg dette tiåret år for år, gjennom maleriene som skapte navnet.
Hyrdescene (1760), Statens Museum for Kunst, København. Deretter følger Hermes befaler Kalypso at frigive Odysseus (1765) og Antikke ruiner omgivet af træer, i forgrunden en hyrde og nogle geder (1765).
30 år gammel: Hyrdescene er fra 1760, og Johan Edvard Mandelberg ble født i 1730.
Vår katalog inneholder 8 verk av Johan Edvard Mandelberg, datert fra 1756 til 1765.
De fleste av dem befinner seg i Statens Museum for Kunst (København) og Nationalmuseum (Stockholm). Tabellen ovenfor lister opp museene ett etter ett.
I 1765: 4 av de 8 verkene på denne siden er fra denne perioden, inkludert Hermes befaler Kalypso at frigive Odysseus.
Det eldste på denne siden er Battle Scene (1756), det nyeste Hermes befaler Kalypso at frigive Odysseus (1765).
Hyrdescene, Hermes befaler Kalypso at frigive Odysseus og Antikke ruiner omgivet af træer, i forgrunden en hyrde og nogle geder er blant de 5 verkene på denne siden som er i Statens Museum for Kunst, København sin samling.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
The story of Johan Edvard Mandelberg begins not on solid ground, but amidst the rhythmic swells of the Baltic Sea. Born on January 22, 1730, during a voyage between Stockholm and Livland, Sweden, his very arrival was marked by the movement of the tides. This sense of transit and wandering would perhaps mirror the trajectory of his illustrious career, which spanned the great art capitals of Europe. The son of a painter, Mandelberg was introduced to the language of color and form within the intimate confines of his father’s workshop in Stockholm. Under his father's tutelage, he mastered the foundational elements of drawing and painting, yet a deeper ambition stirred within him after a chance encounter with a powerful battle scene by Johan Philip Lembke at Drottningholm Palace. This single moment of visual inspiration ignited a lifelong devotion to the drama of historical and military subjects.
Driven by an unquenchable thirst for mastery that his native Sweden could not yet satisfy, Mandelberg sought the advanced training available only in the great academies of the continent. With the generous backing of dedicated supporters, he embarked on a journey through Copenhagen toward the heart of the art world: Paris. In 1752, he arrived in the French capital, a young artist eager to immerse himself in the sophisticated circles of the Enlightenment. His arrival coincided with a period of immense artistic vitality, and through perseverance, he managed to catch the eyes of luminaries such as Count Philippe de Cayton and the legendary François Boucher. Working within Boucher’s renowned atelier, Mandelberg absorbed the Rococo elegance and fluid brushwork that defined the era, even while navigating the hardships of an impoverished student, often supplementing his meager earnings by creating delicate pen-and-ink battle sketches and meticulous copies of masterworks.
Mandelberg’s artistic development was a sophisticated tapestry woven from Swedish discipline, French elegance, and Danish patronage. His time in Paris provided him with the technical vocabulary to translate his passion for combat into grand, sweeping narratives. However, it was his connection to the Danish court that would ultimately define his professional legacy. Through the influence of influential figures like Adam Gottlob Moltke and the support of King Frederick V of Denmark, Mandelberg found a stable home in Copenhagen. This royal patronage allowed him to transition from a struggling student to a significant figure within the Danish art scene, eventually becoming associated with the Royal Danish Academy of Art.
His oeuvre is characterized by a remarkable ability to capture the chaotic energy of historical conflict and the serene beauty of mythological landscapes. As an artist, he possessed a unique talent for:
Beyond the battlefield, Mandelberg’s work often touched upon the mythological and the pastoral, showcasing a range that prevented him from being pigeonholed as merely a painter of war. His ability to blend the rigorous anatomical accuracy required for cavalry scenes with the soft, lyrical qualities of landscape painting made him a versatile contributor to the late 18th-century aesthetic. Though his life was relatively short, ending in Copenhagen in 1786 at the age of fifty-five, the impact of his journey—from a child born at sea to a celebrated painter of the European courts—remains a testament to the transformative power of artistic ambition.