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Christ Ministered and Borne by Angels
Ročno slikana oljna reprodukcija od $406 29 × 35 cm
Velikost kot pri originalu $1365 166 × 199 cm Naročite v originalni velikosti →
Christ Ministered and Borne by Angels (1660) je najbolj znano sliko avtorja Michael Willmann, ki se nahaja v muzeju Narodna galerija v Pragi v mestu Praga. Meeting with the wenches of Jerusalem (1672) in Jesus falls the first time (1672) sta naslednji dve dela, ki jih svet najbolje pozna. Od 28 del umetnika Michael Willmann v našem katalogu so tu tista 27, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
Uvrščeno glede na naš skoraj 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.
7 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Michael Willmann | Slike iz tega seznama |
|---|---|---|---|
 Narodni muzej v Varšavi |
Varšava | 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 |
 Narodna galerija v Pragi |
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 |
 Slovenska narodna galerija |
Bratislava | 1 | Kiss of Saint Joseph |
 Bavarske državne slikopisne zbirke |
München | 1 | Lamentation of Christ |
Christ Ministered and Borne by Angels (1660), Narodna galerija v Pragi, Praga. Nato sledeta Meeting with the wenches of Jerusalem (1672) in Jesus falls the first time (1672).
30 let: delo Christ Ministered and Borne by Angels iz leta 1660, pri čemer je Michael Willmann rodil/a v 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. in The holy Family on the flight into Egypt. Zgornja lestica prikazuje leto in muzej za vsako od njih.
V našem katalogu je navedenih 28 del avtorja Michael Willmann, datiranih od 1656 do 1705.
Večina njih se nahaja v Narodni muzej v Varšavi (Varšava), National Museum in Wrocław (Wrocław) in Narodna galerija v Pragi (Praga). Zgornja tabela navaja muzeje posamezno.
V obdobju 1660s: 5 od 27 del na tej strani izvira iz tega obdobja, med katerimi je Christ Ministered and Borne by Angels.
Najstarejšo delo na tej strani je iz Landscape with St. John the Baptist (1656), najnovejše pa iz Lamentation of Christ (1705).
Meeting with the wenches of Jerusalem, Jesus falls the first time in Jesus being nailed to the cross so med 9 dela na tej strani, ki jih hrani Narodni muzej v Varšavi, Varšava.
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.
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.