Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734) 是 Edvard Orm 最著名的画作，现由位于 斯特伦格纳斯 的 瑞典国家肖像画廊 收藏。 在 Edvard Orm 的 1 件作品中，我们为您精选了收藏家和博物馆观众最关注的 1 件作品，并附上创作年份、馆藏机构及每件作品背后的故事。
排名依据为我们的热度评分，该评分综合了每件作品的搜索量、访问量及订单量。更新于 October 2026。 本页面的每一件杰作均可根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术微喷画。
收藏了本页中大部分画作的 1 家博物馆。
| 博物馆 | 城市 | Edvard Orm 的作品 | 此列表中的画作 |
|---|---|---|---|
 瑞典国家肖像画廊 |
斯特伦格纳斯 | 1 | Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker |
本页展示了所有创作于 1734 年的 Edvard Orm 杰作：按知名度排序如下。
Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734)
64岁：Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker创作于1734，Edvard Orm出生于1670。
我们的目录收录了 1 件 Edvard Orm 的作品。
其中大部分藏于 瑞典国家肖像画廊 (斯特伦格纳斯)。上表逐一列出了这些博物馆。
是的。本页面的每一幅画作均可在画作详情页中，根据您选择的尺寸，定制为博物馆级手工油画复制品或艺术精美版画。
Edvard Orm moved through the landscapes of southern Sweden, leaving his mark on the walls of churches and the faces of local officials. Born around 1670, his life followed a path through Västergötland, Jönköping, Västervik, and eventually to Öland, where he remained until his death in 1735. He was a painter who worked in the baroque style, though he never belonged to a formal guild. His presence was felt in many places, from the shores of Gotland to the forests of Småland. He was often called a konterfejare, a term for one who paints portraits, yet his hands were equally accustomed to the heavy task of decorating church ceilings and altarpieces.
There is a certain weight to his work. His colors tend to be heavy, applied with a hand that understood the permanence required for stone and plaster. While some suggest he may have studied under David Klöcker Ehrenstrahl or David von Krafft, there is no certain proof of such a connection. He worked with what he had, adapting his skill to the needs of the people around him, from the high-ranking officials to the local clergy.
His commissions varied depending on where he settled. In the churches, he tackled large-scale religious themes that required both stamina and a sense of scale. In the private homes of the local elite, he focused on the individual. His output included:
In Hakarps kyrka, his work took on a more complex character. He spent six months on the ceiling, assisted by a man named Johan Kinnerus. The scenes there—paradise, the resurrection, and the final judgment—were meant to be seen from below, filling the space with a sense of the divine. Some say the animals in the paradise scenes were the work of his son, Gabriel.
The traces of his life are held in various collections, including the Nationalmuseum and the Kalmar läns museum. His paintings survived even when the buildings they inhabited did not; the church in Gränna, for instance, was lost to a fire in 1889. What remains are the records of a man who painted the reality of his time, capturing the likenesses of priests and their wives, and the heavy, solemn scenes of faith that defined the era. He died in Algutsrum, leaving behind a body of work that reflects the steady, provincial life of 18th-century Sweden.