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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
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Obrazem, który przyniósł sławę Conrad Meyer, jest Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); znajduje się on w Scottish National Gallery, Edynburg. Portrait of Hans Conrad Lavater (1686) oraz Portrait of Cleophea Lavater (1686) podążają za nimi w sercach kolekcjonerów i odwiedzających muzea. Z 3 dzieł Conrad Meyer w naszym katalogu, tych 3 jest najbardziej podziwianych – każde z nich zostało przedstawione wraz z datą powstania, muzeum oraz cechami wyróżniającymi.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Listopad 2026. Każde arcydzieło na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny, w wybranym przez Ciebie rozmiarze.
2 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Conrad Meyer | Obrazy z tej listy |
|---|---|---|---|
 National Museum Zurich |
Zurich | 2 | Portrait of Hans Conrad Lavater, Portrait of Cleophea Lavater |
 Scottish National Gallery |
Edynburg | 1 | Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) |
Od 1661 do 1686, 26 lat twórczości Conrad Meyer, rok po roku, poprzez jej najwspanialsze obrazy.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edynburg. Następnie pojawiają się Portrait of Hans Conrad Lavater (1686) oraz Portrait of Cleophea Lavater (1686).
43 lat: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) pochodzi z 1661, a Conrad Meyer urodził(a) się w 1618.
Nasz katalog obejmuje 3 dzieł autorstwa Conrad Meyer, datowanych od 1661 do 1686.
Większość z nich znajduje się w National Museum Zurich (Zurich) i Scottish National Gallery (Edynburg). Powyższa tabela zawiera listę muzeów po kolei.
W okresie 1686: 2 z 3 dzieł na tej stronie pochodzi z tego czasu, w tym Portrait of Hans Conrad Lavater.
Najwcześniejszy na tej stronie to Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), najpóźniejszy Portrait of Hans Conrad Lavater (1686).
Portrait of Hans Conrad Lavater i Portrait of Cleophea Lavater to jedne z 2 dzieł na tej stronie znajdujących się w zbiorach National Museum Zurich, Zurich.
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny w wybranym przez Ciebie rozmiarze, bezpośrednio ze strony danego dzieła.
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.