Najpoznatije delo umetnika Georg David Matthieu je Portrait of Charlotte of Mecklenburg-Strelitz (1762), koje se nalazi u muzeju National Portrait Gallery of Sweden, Strängnäs. Uz Joachim Ulrich Giese (1762) i Prince Heinrich of Prussia as Commander, to su tri dela koja svi prepoznaju. Naš katalog sadrži 21 dela umetnika Georg David Matthieu; ovih 21 ispod su dela koja svet najčešće posmatra, svako sa navedenom godinom nastanka, muzejom u kojem se čuva i razlogom zašto je značajno.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano октобар 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.
To gaze upon this portrait of Joachim Ulrich Giese is to step directly into the gilded salons of 18th-century Berlin. Painted in 1762 by Georg David Matthieu, the work transcends a mere likeness; it is a carefully constructed tableau of intellectual refinement and aristocratic grace. The very air surrounding the subject seems imbued with the delicate exuberance characteristic of the Rococo period. Everything about the composition whispers of an era…
Georg David Matthieu’s “The Wife of Joachim Ulrich Giese,” painted in 1762, is more than just a portrait; it's a meticulously crafted tableau of Rococo elegance and subtle psychological depth. Created during the height of Matthieu’s career – a period marked by his association with influential figures like Jakob Philipp Hackert and his service as court painter for the Duke of Mecklenburg – this work offers a captivating glimpse into…
Četiri teme koje se najčešće pojavljuju među ovim remek-delima, sa najboljim primerom za svaku od njih.
3 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Georg David Matthieu | Slike iz ovog spiska |
|---|---|---|---|
 Staatliche Museen zu Berlin |
Berlin | 2 | Joachim Ulrich Giese, The Wife of Joachim Ulrich Giese |
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Portrait of Charlotte of Mecklenburg-Strelitz |
 Narodni muzej u Varšavi |
Varšava | 1 | Portrait of a man in armour |
Sva datirana dela umetnika Georg David Matthieu na ovoj stranici potiču iz 1762 godine: evo najpoznatijih od njih.
To gaze upon this portrait of Joachim Ulrich Giese is to step directly into the gilded salons of 18th-century Berlin. Painted in 1762 by Georg David Matthieu, the…
Georg David Matthieu’s “The Wife of Joachim Ulrich Giese,” painted in 1762, is more than just a portrait; it's a meticulously crafted tableau of Rococo elegance and subtle…
Portrait of Charlotte of Mecklenburg-Strelitz (1762), National Portrait Gallery of Sweden, Strängnäs. Sledeći su Joachim Ulrich Giese (1762) i Prince Heinrich of Prussia as Commander.
25 godina: Portrait of Charlotte of Mecklenburg-Strelitz datira iz 1762, a Georg David Matthieu je rođen/a 1737.
Portrait of Charlotte of Mecklenburg-Strelitz, Joachim Ulrich Giese, Prince Heinrich of Prussia as Commander, Portrait of a man in armour, Portrait of Amelie of Mecklenburg-Schwerin, The Wife of Joachim Ulrich Giese, Frederick the Great, King of Prussia, Friedrich der Fromme, Portrait of Grand-duke Friedrich Franz I of Mecklenburg-Schwerin and his tutor i Portrait of duchess Ulrike Sophie of Mecklenburg. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 21 dela umetnika Georg David Matthieu.
Većina njih se nalazi u Staatliche Museen zu Berlin (Berlin), National Portrait Gallery of Sweden (Strängnäs) i Narodni muzej u Varšavi (Varšava). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1762: 3 od ukupno 21 dela na ovoj stranici datiraju iz tog vremena, od čega je Portrait of Charlotte of Mecklenburg-Strelitz.
Portraits (6), Royalty (4) i Portraiture (2), od ukupno 21 dela na ovoj stranici.
Oil On Canvas: 2 od ukupno 21 dela na ovoj stranici.
Rococo, kao što pokazuju slike na ovoj stranici.
Joachim Ulrich Giese i The Wife of Joachim Ulrich Giese su među 2 dela na ovoj stranici koja se nalaze u Staatliche Museen zu Berlin, Berlin.
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.
Berlin, 1737. The air in the studio of David Matthieu carries the scent of oil and pigment, a workspace where Georg David Matthieu begins his life within a family of established artists. He does not merely observe the craft; he breathes it through a lineage that connects him to the Prussian court. His father, David, holds the position of court painter in Prussia, providing a foundation of technical rigor. This connection extends through his stepmother, Anna Rosina, linking Georg to the influential Georg Lisiewski and the talented Anna Dorothea Therbusch.
The training is intimate and rigorous. He learns the precision required for engraving and the delicate touch needed for portraiture under his father's direct gaze. This early immersion in the mechanics of light and shadow prepares him for a life defined by the demands of the aristocracy. His path is not one of solitary wandering but of professional continuity, moving through the established circles of German and Swedish nobility.
A shift occurs in 1764. Following his work on a portrait of Queen Sophie Charlotte, Georg David Matthieu secures a position that alters his social and professional standing: court painter to the Duke of Mecklenburg-Schwerin. He moves into an apartment within the newly built Ludwigslust Palace. The transition from a student of the Prussian tradition to a resident of the ducal court brings a new set of responsibilities and a specific aesthetic demand.
Life at the court follows a strict hierarchy. As a painter ranked 20th out of 24, his existence is governed by the system established by Duke Friedrich William. His compensation is fixed—250 Reichstalers annually, supplemented by free food and housing for his family. He spends his days documenting the ducal family and their relatives, capturing the physical presence of the Mecklenburg-Schwerin line. The work is constant. He is on call, tasked with projecting the dignity of the house through the Rococo style.
The portraits produced during this period focus on the material reality of the 18th-century elite. In works such as the portrait of Joachim Ulrich Giese, the emphasis lies on texture and social signifiers. A red velvet coat is rendered with a weight that contrasts against white lace cuffs. The light does not merely illuminate; it sculpts figures from the surrounding darkness, providing a sense of three-dimensionality to the subjects.
Matthieu utilizes specific elements to communicate status:
His friendship with Jakob Philipp Hackert likely brings broader European influences into his practice, particularly through shared study trips to Italy. This exposure refines his ability to handle color schemes and the delicate exuberance of the Rococo period. Even in smaller works, such as his drawings in black and red chalk or blue pastel, the precision of his hand remains evident. He dies in 1778, leaving behind a body of work that remains housed in the collections of the Staatliches Museum Schwerin, the Gemäldegalerie Berlin, and The Metropolitan Museum of Art.
