Slika koja je proslavila Cezar Van Everdingen je Woman praying (1650); nalazi se u muzeju Rijksmuseum, Amsterdam. Jupiter and Callisto (1655) i Winter (1646) slede nakon njih u srcima kolekcionara i posetilaca muzeja. Od 41 dela umetnika Cezar Van Everdingen u našem katalogu, ovih 40 su najcenjenija, a svako je predstavljeno sa datumom nastanka, muzejom i onim što ga izdvaja.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano новембар 2026. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
A single mask lies discarded in the upper corner, a silent witness to a deception. Beneath it, the nymph Callisto reclines upon heavy folds of fabric, her skin catching a pale, directional light that carves her form from the surrounding gloom. She looks upward, her gaze meeting the eyes of a man she believes to be a friend, yet the viewer sees the truth of his divinity. Jupiter stands near…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
This work, titled Vertumnus and Pomona, is a significant example of the mythological painting produced by Caesar van Everdingen. The piece is dated about 1637–1640, a period during which the artist was establishing his presence within the Dutch Golden Age. It is a work that captures a specific moment of classical narrative, rendered with the precision characteristic of his training in Utrecht.
In this 1641 portrait, we find ourselves standing before a dense assembly of men, the officers of the Orange Company of the Old Civic Guard. There is a certain weight to the composition, a horizontal arrangement that feels both crowded and deeply organized. These men are not merely subjects; they are a collective force, their postures providing a structural rhythm to the canvas. The lighting, descending from the upper left,…
This 1636 oil portrait presents a three-quarter length view of an elderly woman, Aechje Claesdr. Moer, set against a somber, atmospheric backdrop. The composition relies on a sharp tonal contrast between her dark, light-absorbing gown and a large, bright white ruff collar. This millstone ruff, with its rhythmic pleats, directs the eye toward the subject's face, which is rendered with naturalistic precision. A soft, directional light enters from the upper…
This Baroque-style oil painting presents an intimate mythological scene featuring two figures, Vertumnus and Pomona, set against a dark and atmospheric landscape. The composition centers on a tactile exchange of fruit between a seated figure on the left and a woman on the right. The scene is characterized by a dramatic use of chiaroscuro, where light highlights the faces and hands of the subjects while casting much of the background…
The work before us is the Portrait of an unknown girl, a quiet study by the Dutch Golden Age painter Caesar van Everdingen. This portrait, which is also known by the titles Girl in a Large Hat or Meisje met brede hoed, offers a glimpse into the meticulous portraiture practiced during the mid-17th century. It captures a sense of individual presence through a restrained and dignified approach to the subject.
The painting titled Officers and standard-bearers of New Civic Guard in Alkmaar was executed by the Dutch Golden Age painter Caesar van Everdingen. This large-scale work dates to about 1657. The subject matter consists of a group of officers and standard-bearers, who likely represent a civic militia. These men are gathered in a formal arrangement that reflects their communal role within the city of Alkmaar, Netherlands.
The oil on canvas titled Portrait of Cornelis Jacobsz. Groot (?-1661) presents a quiet encounter with a man of the Dutch Golden Age. Painted by Caesar van Everdingen,…
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The scene unfolds within the realm of myth, centered on the legendary Four Muses and Pegasus on Parnassus. In this gathering, the divine figures occupy a lush, somewhat…
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In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures…
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This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers…
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In this 1664 oil portrait, we encounter a woman of significant presence, captured in a three-quarter length view that feels both intimate and formal. She sits slightly off-center,…
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In this large-scale, formal Baroque portrait, Caesar van Everdingen organizes a structured, vertical composition that commands the viewer's attention. The primary subject is positioned centrally in a three-quarter…
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Four Evangelists: John by Caesar van Everdingen presents a vertical, full-length portrait of a youthful, long-haired figure, likely representing Saint John the Evangelist. Positioned slightly off-center, the subject…
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Four Evangelists: Luke by Caesar van Everdingen depicts a single male figure identified as Saint Luke. The subject is an elderly, bearded man shown in a side profile…
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The oil painting titled Four Evangelists: Mark was executed by the Dutch Golden Age painter Caesar van Everdingen. This work is dated 1676. The artist, born in Alkmaar,…
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Joueuse de Cistre is an oil painting by the Dutch Golden Age artist Caesar van Everdingen. Executed in 1678, the work captures a young woman engaged with a…
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In the sweeping, dramatic expanse of Caesar van Everdingen’s Allegory of the Birth of Frederik Hendrik, viewers are transported into a world where the boundaries between the earthly…
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A young woman is depicted in profile against a dark, monochromatic background. The light source originates from the upper left, casting a strong chiaroscuro effect across her form.…
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To stand before this canvas is to step directly into the vibrant, sometimes chaotic heart of 17th-century Dutch social life. Caesar van Everdingen’s depiction, "Diogenes Seeks a True…
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In this 1665 oil painting, we find ourselves in a quiet, darkened space where the interplay of shadow and light defines the subject. A woman, draped in a…
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The Oranjezaal is a large-scale room located within Huis ten Bosch in The Hague, Netherlands. The interior features a vaulted ceiling and walls covered in frescoes. These paintings…
A winged cherub sits enthroned upon red velvet, gazing with a serene, contemplative expression. In his hands, he cradles a glass orb, a sphere that catches the light…
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The composition centers on a man seated in a high-backed chair, wearing heavy royal attire and a crown. He occupies the central axis of the canvas, surrounded by…
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The painting titled Officers and Standard-Bearers of the Old Civic Guard is an oil on canvas work by the Dutch Golden Age painter Caesar van Everdingen. This composition…
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In the luminous realm of the Dutch Golden Age, few scenes capture the intoxicating essence of classical mythology as vibrantly as Caesar van Everdingen’s Nymphs Offering the Young…
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The room is still. Within this domestic space, Mary sits with her child upon her lap, a gesture of soft protection. Beside them, Joseph occupies the scene, his…
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A young girl stands poised in a landscape that feels alive with the quiet energy of the hunt. She holds a bow and arrow, her hands steady, while…
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The Portrait of a Two-Year-Old Boy is a captivating oil on canvas painting created by the renowned Dutch artist Caesar Van Everdingen in 1664. This stunning artwork is…
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Portrait of Elisabeth van Kessel, wife of Willem Jacobsz Baert. Halfway to the left, a fan in the left hand. Pendant of SK-A-1339.
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Portrait of Willem Jacobsz Baert, Mayor of Alkmaar and Amsterdam. Halfway through, standing with a glove in the left hand. Pendant of SK-A-1340.
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Pan and Syrinx. In the middle Syrinx, fleeing to the left for a male figure, who appeared right between the reed. She is half naked, dressed in a…
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A table sits heavy with the weight of harvest and ritual. Wine glasses, cups, and bowls are scattered across its surface, catching the light in a way that…
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8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Cezar Van Everdingen | Slike iz ovog spiska |
|---|---|---|---|
 Stedelijk Museum |
Alkmaar | 10 | Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Officers and standard-bearers of New Civic Guard in Alkmaar |
 Rijksmuseum |
Amsterdam | 6 | Woman praying, Winter, Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 1671 |
 Huis ten Bosch |
The Hague | 4 | Four Muses and Pegasus on Parnassus, Allegory of the Birth of Frederik Hendrik, View of the Oranjezaal |
 Nationalmuseum |
Стокхолм | 2 | Jupiter and Callisto, Female Figure, possibly Lucretia |
 Kunsthandel P. de Boer |
2 | Portrait of Cornelis Jacobsz. Groot (?-1661), Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot | |
 Mauritshuis |
Хага | 2 | Diogenes Seeks a True Man, Still-Life with a Bust of Venus |
 Музеј Тисен-Борнемиза |
Madrid | 1 | Vertumnus and Pomona |
 J. Paul Getty Museum |
Los Anđeles | 1 | Vertumnus and Pomona |
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a…
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a…
In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures…
This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers…
Woman praying (1650), Rijksmuseum, Amsterdam. Sledeći su Jupiter and Callisto (1655) i Winter (1646).
34 godina: Woman praying datira iz 1650, a Cezar Van Everdingen je rođen/a 1616.
Woman praying, Jupiter and Callisto, Winter, Vertumnus and Pomona, Vertumnus and Pomona, Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Vertumnus and Pomona, Portrait of an unknown girl i Officers and standard-bearers of New Civic Guard in Alkmaar. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 41 dela umetnika Cezar Van Everdingen, datiranih od 1631 do 1678.
Većina njih se nalazi u Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) i Huis ten Bosch (The Hague). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1650s: 12 od ukupno 40 dela na ovoj stranici datiraju iz tog vremena, od čega je Woman praying.
Najstarije delo na ovoj stranici je iz Vertumnus and Pomona (1631), a najnovije iz Joueuse de Cistre (1678).
Woman (12), Man (11) i Drapery (5), od ukupno 40 dela na ovoj stranici.
Oil On Canvas: 15 od ukupno 40 dela na ovoj stranici.
Baroque i Dutch golden age, kao što pokazuju slike na ovoj stranici.
Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) i Officers and standard-bearers of New Civic Guard in Alkmaar su među 10 dela na ovoj stranici koja se nalaze u Stedelijk Museum, Alkmaar.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
U zlatnom dobu holandskog slikarstva, u kojem je igra svetlosti i senke definisala vizuelni identitet jedne nacije, Cezar van Everdingen se istakao kao majstor suptilnih emocija i atmosferske dubine. Rođen oko 1616. godine u istorijskom gradu Alkmar u Holandiji, njegov umetnički put bio je duboko isprepleten sa prestižnim porodičnim korenima. Iako se često pominje uz svoju slavnu braću, Alarta i Jana, Cezar je uspeo da izkuje sopstveni, poseban prostor unutar holandskog zlatnog doba. Njegovo rano obrazovanje pod okriljem cenjenog Jana Gerritsa van Bronckhorsta u Utrehtu pružilo mu je čvrste temelje klasične estetike, ugrađujući u njega preciznost koja će mu kasnije omogućiti da prevaziđe puku tehničku veštinu i dostigne istinsku umetničku viziju.
Njegov profesionalni uspon počeo je ozbiljno 1632. godine, kada se zvanično pridružio esnafu u Alkmaru. Tokom tih formativnih godina, njegov repertoar karakterisali su pedantni portreti i upečatljive žanrovske scene, dela koja su zahtevala intenzivno posmatranje ljudskog stanja. Međutim, kako je njegov talenat sazrevao, tako je rastela i njegova ambicija. Izašao je iz okvira doslovnog predstavljanja, razvijajući jedinstvenu sposobnost manipulacije potezima četkice kako bi uhvatio prolazne nijanse svetlosti i težinu atmosfere. Ova evolucija označila je njegov prelazak iz veštog zanatlije u vizionarskog slikara, sposobnog da udahne život u samo platno.
Ključno poglavlje u Van Everdingenovom životu otvorilo se 1648. godine, kada se preselio u vibrantni, kulturno bogati grad Harlem. Ovaj prelazak bio je više od obične promene okruženja; bila je to uranjanje u samo srce holandskog umetničkog sveta. Pridruživanjem prestižnom hartemskom esnafu Svetog Luke i aktivnošću u schutterij (građanskoj gardi), Cezar se utkao u samu tkaninu društvene i političke elite tog grada. Ove veze su bile presudne za dobijanje porudžbina koje će definisati njegov istorijski značaj.
Možda najzadahnutije dostignuće njegove karijere bilo je učešće u dekoraciji Oranje sale (Narandžaste sale) unutar dvorca Huis ten Bosch. Ovaj monumentalni poduhvat zahtevao je majstorstvo u istorijskom slikarstvu velikih formata, žanru koji zahteva i narativnu složenost i veličanstven razmer.
U tom okruženju, Cezar je pokazao svoju umeće u komponovanju epskih scena, spajajući istorijski značaj sa delikatnim dodirom. Njegov rad tokom ovog perioda prikazivao je rastuću sposobnost rukovanja složenim kompozicijama, osiguravajući da njegovo ime ostane vječno utisnuto u arhitektonsku istoriju Holandije.
U svojim poznim godinama, Cezar se vratio svojim korenima u Alkmaru, osnivajući radionicu koja je postala utočište za umetničko poučavanje. Ovaj period njegovog života obeležila je duboka posvećenost usavršavanju zanata i mentorstvu nove generacije slikara. Njegova kasna dela odražavaju život akumuliranog mudrosti, karakterisana ponavljajućom fascinacijom za nebeske i eterične teme. Postao je posebno poznat po prikazima krilatih figura — anđela i božanskih bića — izvedenih sa mekoćom koja je sugerisala prisustvo onoga što je uzvišeno.
Značaj Cezara van Everdingena ne leži samo u njegovim pojedinačnim remek-delima, već i u njegovoj ulozi mosta između strogih tradicija ranog 17. veka i emotivnijih, atmosferskih stilova koji su usledili. Njegova sposobnost da spoji preciznost holandskog portretstva sa veličanstvenošću istorijskog narativa ostaje svedočanstvo njegove svestranosti. Danas njegova dela služe kao vitalni prozori u dušu holandskog zlatnog doba, podsećajući nas na vreme kada je svaki potez četkice bio pokušaj da se uhvati večnost unutar prolaznog.
