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Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673)
El boyaması yağlı boya reprodüksiyon fiyatları $181 29 × 35 cm
Orijinal boyutunda $280 58 × 74 cm Orijinal boyutunda sipariş verin →
Conrad Meyer ismini duyuran tablo Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661) eseridir; bu eser Edinburgh, Scottish National Gallery bünyesinde sergilenmektedir. Portrait of Hans Conrad Lavater (1686) ve Portrait of Cleophea Lavater (1686) ise koleksiyonerlerin ve müze ziyaretçilerinin kalbinde onları takip ediyor. Katalogumuzdaki Conrad Meyer imzalı 3 eser arasından en çok beğenilen bu 3 eser; yapıldığı tarih, sergilendiği müze ve onu eşsiz kılan özellikleriyle birlikte sunulmuştur.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir şaheser, seçtiğiniz boyutta müze kalitesinde, el yapımı yağlı boya reprodüksiyon veya sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 2 müze.
| Müze | Şehir | Conrad Meyer Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 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) |
1661 ile 1686 yılları arasında, Conrad Meyer sanatının en seçkin tablolarıyla yıl yıl 26 yıllık serüveni.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edinburgh. Ardından Portrait of Hans Conrad Lavater (1686) ve Portrait of Cleophea Lavater (1686) gelir.
43 yaşında: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) 1661 yılına aittir ve Conrad Meyer 1618 yılında doğmuştur.
Kataloğumuz, Conrad Meyer tarafından 1661 ile 1686 tarihleri arasında üretilen 3 eseri listelemektedir.
Çoğu National Museum Zurich (Zurich) ve Scottish National Gallery (Edinburgh) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
1686 döneminde: Bu sayfadaki 3 eserin 2 tanesi o döneme aittir, bunlar arasında Portrait of Hans Conrad Lavater bulunmaktadır.
Bu sayfadaki en eski eser Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), en yeni eser ise Portrait of Hans Conrad Lavater (1686)'dir.
Portrait of Hans Conrad Lavater ve Portrait of Cleophea Lavater, National Museum Zurich, Zurich bünyesinde bulunan bu sayfadaki 2 eser arasında yer almaktadır.
Evet. Bu sayfadaki her tablo, tablonun kendi sayfasından seçtiğiniz boyutta, müze kalitesinde, el yapımı bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.