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Christ Ministered and Borne by Angels
Ręcznie malowana reprodukcja olejowa od $406 29 × 35 cm
Rozmiar zgodny z oryginałem $1365 166 × 199 cm Zamów w oryginalnym rozmiarze →
Christ Ministered and Borne by Angels (1660) to najsłynniejszy obraz autorstwa Michael Willmann, znajdujący się w National Gallery Prague w Praga. Meeting with the wenches of Jerusalem (1672) i Jesus falls the first time (1672) to dwa kolejne dzieła, które świat zna najlepiej. Z 28 dzieł Michael Willmann w naszym katalogu, oto 27 najczęściej wybieranych przez kolekcjonerów i zwiedzających muzea, wraz z rokiem powstania, informacją o muzeum oraz historią każdego z nich.
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.
7 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Michael Willmann | Obrazy z tej listy |
|---|---|---|---|
 Muzeum Narodowe w Warszawie |
Warszawa | 9 | Meeting with the wenches of Jerusalem, Jesus falls the first time, Jesus being nailed to the cross |
 National Museum in Wrocław |
Wrocław | 7 | Ofreus playing on harp., Saint Gregory, Saint Jerome |
 National Gallery Prague |
Praga | 4 | Christ Ministered and Borne by Angels, Saint Jerome and the Angel of Judgement, The Release of Andromeda |
 Gemäldegalerie |
Berlin | 2 | The Legend of the Cross / Exaltation of the Cross, Jacob's Dream Landscape |
 Jagdschloss Grunewald |
Berlin | 1 | Glorification of the Great Elector as Protector of the Arts |
 Słowacka Galeria Narodowa w Bratysławie |
Bratysława | 1 | Kiss of Saint Joseph |
 Bawarskie Państwowe Zbiory Malarstwa |
Monachium | 1 | Lamentation of Christ |
Christ Ministered and Borne by Angels (1660), National Gallery Prague, Praga. Następnie pojawiają się Meeting with the wenches of Jerusalem (1672) oraz Jesus falls the first time (1672).
30 lat: Christ Ministered and Borne by Angels pochodzi z 1660, a Michael Willmann urodził(a) się w 1630.
Christ Ministered and Borne by Angels, Meeting with the wenches of Jerusalem, Jesus falls the first time, Jesus being nailed to the cross, Creation of the World, Saint Jerome and the Angel of Judgement, Ofreus playing on harp., Glorification of the Great Elector as Protector of the Arts, Self-portrait. i The holy Family on the flight into Egypt. Powyższy ranking zawiera rok oraz muzeum dla każdego z nich.
Nasz katalog obejmuje 28 dzieł autorstwa Michael Willmann, datowanych od 1656 do 1705.
Większość z nich znajduje się w Muzeum Narodowe w Warszawie (Warszawa), National Museum in Wrocław (Wrocław) i National Gallery Prague (Praga). Powyższa tabela zawiera listę muzeów po kolei.
W okresie 1660s: 5 z 27 dzieł na tej stronie pochodzi z tego czasu, w tym Christ Ministered and Borne by Angels.
Najwcześniejszy na tej stronie to Landscape with St. John the Baptist (1656), najpóźniejszy Lamentation of Christ (1705).
Meeting with the wenches of Jerusalem, Jesus falls the first time i Jesus being nailed to the cross to jedne z 9 dzieł na tej stronie znajdujących się w zbiorach Muzeum Narodowe w Warszawie, Warszawa.
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.
In the grand, dramatic tapestry of the Baroque era, few names resonate with as much localized majesty as Michael Leopold Lukas Willmann. Known to his contemporaries by evocative titles such as the "Silesian Rembrandt," the "Silesian Apelles," or even the "Silesian Raphael," Willmann was a master who bridged the gap between Northern European realism and the sweeping emotionality of the Baroque movement. Born in 1630 in Königsberg, into an impoverished family of Calvinist nobility, his journey was one of profound artistic hunger and self-driven mastery. Though he lacked the wealth to enter the most prestigious academies, his spirit was fueled by a relentless pursuit of the light and shadow that would eventually define the visual landscape of Silesia.
Willmann’s early years were shaped by the steady hand of his father, Christian Peter Willmann, a local painter who provided the foundational brushwork for his son's burgeoning talent. However, it was his pilgrimage to the Dutch Republic around 1650 that truly ignited his creative soul. In the bustling atmosphere of Amsterdam, Willmann found himself immersed in the works of the giants. While he could not afford the luxury of formal apprenticeship under a master like Rembrandt, he engaged in a profound, solitary dialogue with the canvases of the era. He studied the dramatic chiaroscuro of Rembrandt, the muscular dynamism of Peter Paul Rubens, and the elegant portraiture of Anthony van Dyck. This period of intense observation allowed him to synthesize a unique style—one that married the gritty, psychological depth of the Dutch masters with a more theatrical, continental flair.
The trajectory of Willmann’s career was as much a geographical odyssey as it was an artistic evolution. After his formative years in the Netherlands, he traversed the cultural hubs of Central Europe, leaving a trail of brilliance from Prague to Wrocław. His arrival in the region of Silesia marked the beginning of his most prolific era. A pivotal moment occurred in 1656 when he received commissions from Abbot Arnold Freiberger of the Leubus Abbey. This relationship with the Cistercian order provided him with a spiritual and physical sanctuary, allowing him to establish a large, thriving workshop that functioned much like the great studios of the Dutch masters.
His prestige was such that he even found himself serving at the highest levels of political power, acting as the court painter to Frederick William, the Elector of Brandenburg, in Berlin around 1657. This period allowed him to explore mythological themes and grander, more allegorical compositions, expanding his repertoire beyond religious devotion. His workshop became a powerhouse of Baroque production, churning out hundreds of works that adorned churches, monasteries, and private collections across Poland, the Czech Republic, Austria, and Germany. Through his pupils and assistants, the "Willmann style"—characterized by its sketch-like vitality and saturated light—spread throughout the Holy Roman Empire.
To look upon a Willmann painting is to witness a struggle between darkness and illumination. His technique was deeply rooted in the ability to manipulate light to evoke profound human emotion, whether through the harrowing depiction of martyrdom or the quiet dignity of a landscape. His works often possess a certain tactile quality, where the brushwork feels alive, almost restless, mirroring the spiritual intensity of the Counter-Reformation period. This mastery of atmosphere ensured that his religious frescoes and oil paintings were not merely decorations, but immersive experiences designed to stir the soul of the viewer.
The historical significance of Michael Willmann lies in his role as a cultural anchor for Silesia. He took the sophisticated visual language of the Dutch and Flemish masters and translated it into a regional vernacular that defined the Baroque identity of Central Europe. Though he passed away in 1706 in Lubiąż, his influence endured through the vast oeuvre he left behind. Today, his legacy is preserved in the hallowed halls of museums and cathedrals, serving as a testament to an artist who, despite humble beginnings, rose to become one of the most formidable painters of his century.