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Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness
Копія олією ручної роботи від $181 28 × 36 cm
Розмір як у оригіналу $348 73 × 89 cm Замовити в оригінальному розмірі →
Картина, яка принесла славу Anders Bergius, — це Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness (1750); вона експонується в Національна портретна галерея Швеції, Стренгнес. Portrait of Anna Siemens (1774) та Portrait of Hulleborg Hielm, born Abel (1780) не поступаються їм у серцях колекціонерів та відвідувачів музеїв. З 8 робіт Anders Bergius у нашому каталозі ці 8 є найбільш шанованими; кожна з них представлена з датою створення, назвою музею та описом її унікальності.
Рейтинг сформовано на основі нашого показника популярності, що поєднує кількість пошукових запитів, переглядів та замовлень для кожної роботи. Оновлено Листопад 2026. Кожен шедевр на цій сторінці можна замовити як художню олійну репродукцію ручної роботи музейного рівня або як високоякісний арт-принт у будь-якому обраному вами розмірі.
4 музеїв, у яких зберігається більшість картин із цього списку.
| Музей | Місто | Твори Anders Bergius | Картини зі цього списку |
|---|---|---|---|
 Національна портретна галерея Швеції |
Стренгнес | 1 | Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness |
 Trondheim Kunstmuseum |
Тронхейм | 1 | Portrait of Anna Siemens |
 Національний музей мистецтва, архітектури та дизайну |
Осло | 1 | Portrait of Hulleborg Hielm, born Abel |
 Oslo Museum |
Осло | 1 | Portrait of Eleonore Leuch |
Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness (1750), Національна портретна галерея Швеції, Стренгнес. Далі йдуть Portrait of Anna Siemens (1774) та Portrait of Hulleborg Hielm, born Abel (1780).
32 років: Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness датована 1750 роком, а Anders Bergius народився(-лася) у 1718.
У нашому каталозі представлено 8 робіт Anders Bergius, датованих періодом з 1750 по 1780.
Більшість із них знаходяться в Національна портретна галерея Швеції (Стренгнес), Trondheim Kunstmuseum (Тронхейм) та Національний музей мистецтва, архітектури та дизайну (Осло). У таблиці вище перелічені музеї по черзі.
У 1770s: 4 із 8 робіт на цій сторінці датуються цим часом, серед них Portrait of Anna Siemens.
Найдавніша робота на цій сторінці датована Unknown woman, possibly Anna Charlotta Kruuse af Verchou (1689-1766), married von Salza, Baroness (1750), найновіша — Portrait of Hulleborg Hielm, born Abel (1780).
Так. Кожну картину на цій сторінці можна замовити як музейну репродукцію, написану олією вручну, або як художній принт у будь-якому обраному вами розмірі — безпосередньо зі сторінки самої картини.
Born on 4 January 1718 in Kristinehamn, Anders Bergius entered a world shaped by the commerce of the Swedish coast. He was the son of Johan Bergius, a merchant, and Stina Gravall. His early years in Sweden provided a foundation that would eventually lead him toward a life of varied craftsmanship and artistic pursuit. While his lineage was rooted in trade, his own path would be defined by a restless movement across Northern Europe.
His professional life was characterized by a remarkable versatility. In Gothenburg, he operated as a manufactorist and portrait painter between 1748 and 1767. This period of his life saw him experimenting with diverse media, including the production of waxcloth and leather wallpapers. He even developed a specific method for painting on mirror glass, inspired by Chinese techniques, which reflected a curiosity for the decorative arts of the era.
The later years of his life were marked by a series of migrations. After a period in Copenhagen, he moved through Norway, finding work in Bergen, Trondheim, and Kristiania. He functioned as both a portrait painter and a restorer of paintings, a dual role that required both creative vision and technical precision. He eventually returned to Copenhagen, where he remained until his death on 4 June 1793.
The early 1770s marked a significant shift in Bergius's life as he moved from Copenhagen to Norway. His presence in the region was characterized by a versatile approach to his craft, moving between the creation of new images and the preservation of existing ones. In Bergen, where he was active from 1773 to 1776, he balanced his duties as a portrait painter with the technical work of a painting restorer. This dual role required both the creative eye of an artist and the meticulous hand of a technician.
His travels continued through the Norwegian landscape as his professional requirements shifted. Between 1776 and 1778, he established himself in Trondheim, maintaining his practice before moving toward Kristiania. His time in Kristiania was brief, lasting until 1779, before he eventually returned to Copenhagen. Much of his most significant work from this period is preserved within Norwegian collections, reflecting the impact of his years spent navigating these northern cities.
Bergius was a man of varied technical pursuits, often operating at the intersection of fine art and specialized craftsmanship. During his time in Sweden, his portraiture adopted a Rococo character, mirroring the stylistic sensibilities of the era. He was not content with traditional oil on canvas alone; instead, he sought out more unusual surfaces. He developed a method for painting on mirror glass, utilizing a technique inspired by Chinese styles to achieve specific visual effects. This experimentation with light and reflection demonstrated a restless curiosity regarding how pigment interacts with different substrates.
His later years were marked by a deep preoccupation with the preservation of art. While living in Copenhagen, he dedicated much of his time to the study and practice of painting restoration. This technical focus led to a significant achievement in 1771, when he was awarded a silver medal by the Royal Danish Household Society. The honor was granted in recognition of a specific restoration method he had invented. Though he later attempted to present this method to the Danish Academy, his legacy remains tied to this blend of portraiture and the meticulous science of conservation.