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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
Ročno slikana oljna reprodukcija od $181 29 × 35 cm
Velikost kot pri originalu $280 58 × 74 cm Naročite v originalni velikosti →
Slika, ki je prinesla slavo umetniku Conrad Meyer, je Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); razpostaja v muzeju Scottish National Gallery, Edinburgh. Portrait of Hans Conrad Lavater (1686) in Portrait of Cleophea Lavater (1686) sledeta tem v srcih zbirateljev in obiskovalcev muzejev. Od 3 del umetnika Conrad Meyer v našem katalogu so teh 3 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
Uvrščeno na podlagi naše ocene priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
2 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga Conrad Meyer | Slike iz tega seznama |
|---|---|---|---|
 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) |
Od 1661 do 1686, 26 let umetnosti umetnika Conrad Meyer, leta po leti, skozi njegova najlepša slika.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edinburgh. Nato sledeta Portrait of Hans Conrad Lavater (1686) in Portrait of Cleophea Lavater (1686).
43 let: delo Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) iz leta 1661, pri čemer je Conrad Meyer rodil/a v 1618.
V našem katalogu je navedenih 3 del avtorja Conrad Meyer, datiranih od 1661 do 1686.
Večina njih se nahaja v National Museum Zurich (Zurich) in Scottish National Gallery (Edinburgh). Zgornja tabela navaja muzeje posamezno.
V obdobju 1686: 2 od 3 del na tej strani izvira iz tega obdobja, med katerimi je Portrait of Hans Conrad Lavater.
Najstarejšo delo na tej strani je iz Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), najnovejše pa iz Portrait of Hans Conrad Lavater (1686).
Portrait of Hans Conrad Lavater in Portrait of Cleophea Lavater so med 2 dela na tej strani, ki jih hrani National Museum Zurich, Zurich.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
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.