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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
Rukom oslikana uljana reprodukcija od $181 29 × 35 cm
Isti veličine kao original $280 58 × 74 cm Naručite u originalnim dimenzijama →
Slika koja je proslavila Conrad Meyer je Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); nalazi se u muzeju Scottish National Gallery, Edinburgh. Portrait of Hans Conrad Lavater (1686) i Portrait of Cleophea Lavater (1686) slede nakon njih u srcima kolekcionara i posetilaca muzeja. Od 3 dela umetnika Conrad Meyer u našem katalogu, ovih 3 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.
2 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Conrad Meyer | Slike iz ovog spiska |
|---|---|---|---|
 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 godina umetnosti Conrad Meyer, godinu po godinu, kroz njene najlepše slike.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edinburgh. Sledeći su Portrait of Hans Conrad Lavater (1686) i Portrait of Cleophea Lavater (1686).
43 godina: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) datira iz 1661, a Conrad Meyer je rođen/a 1618.
Naš katalog sadrži 3 dela umetnika Conrad Meyer, datiranih od 1661 do 1686.
Većina njih se nalazi u National Museum Zurich (Zurich) i Scottish National Gallery (Edinburgh). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1686: 2 od ukupno 3 dela na ovoj stranici datiraju iz tog vremena, od čega je Portrait of Hans Conrad Lavater.
Najstarije delo na ovoj stranici je iz Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), a najnovije iz Portrait of Hans Conrad Lavater (1686).
Portrait of Hans Conrad Lavater i Portrait of Cleophea Lavater su među 2 dela na ovoj stranici koja se nalaze u National Museum Zurich, Zurich.
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.
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.