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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
Reproducere pictată manual în ulei de la $181 29 × 35 cm
Aceeași dimensiune ca originalul $280 58 × 74 cm Comandă în dimensiunea originală →
Pictura care l-a făcut faimos pe Conrad Meyer este Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); aceasta este expusă în Scottish National Gallery, Edinburgh. Portrait of Hans Conrad Lavater (1686) și Portrait of Cleophea Lavater (1686) îi urmează în inima colecționarilor și a vizitatorilor muzeelor. Dintre cele 3 opere ale lui Conrad Meyer din catalogul nostru, acestea 3 sunt cele mai admirate, fiecare fiind prezentată cu data creării, muzeul de păstrare și elementele care o fac unică.
Clasate în funcție de scorul nostru de popularitate, care combină numărul de căutări, vizitele și comenzile pentru fiecare operă. Actualizat Noiembrie 2026. Fiecare capodoperă de pe această pagină poate fi comandată ca o reproducere pictată manual în ulei, de calitate muzeală, sau ca o printare de artă fină, la dimensiunea aleasă de dumneavoastră.
Cele 2 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Conrad Meyer | Picturi din această listă |
|---|---|---|---|
 National Museum Zurich |
Zurich | 2 | Portrait of Hans Conrad Lavater, Portrait of Cleophea Lavater |
 Scottish National Gallery |
Edinburgh | 1 | Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) |
De la 1661 la 1686, 26 ani de artă a lui Conrad Meyer, an de an, prin cele mai fine picturi ale sale.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edinburgh. Urmează Portrait of Hans Conrad Lavater (1686) și Portrait of Cleophea Lavater (1686).
43 ani: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) datează din 1661, iar Conrad Meyer s-a născut în 1618.
Catalogul nostru include 3 lucrări ale lui Conrad Meyer, datate între 1661 și 1686.
Majoritatea acestora se află în National Museum Zurich (Zurich) și Scottish National Gallery (Edinburgh). Tabelul de mai sus enumeră muzeele pe rând.
În 1686: 2 dintre cele 3 lucrări de pe această pagină datează de atunci, printre acestea Portrait of Hans Conrad Lavater.
Cea mai veche lucrare de pe această pagină este din Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), iar cea mai recentă este din Portrait of Hans Conrad Lavater (1686).
Portrait of Hans Conrad Lavater și Portrait of Cleophea Lavater sunt printre cele 2 opere de pe această pagină păstrate de National Museum Zurich, Zurich.
Da. Orice pictură de pe această pagină poate fi comandată ca o reproducere pictată manual în ulei, de calitate muzeală, sau ca o print de artă fină, în dimensiunea aleasă de dumneavoastră, direct de pe pagina propriei picturi.
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.