Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 1 děl umělce Lambert Ryckx v našem katalogu
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Pokud znáte jedno dílo umělce Lambert Ryckx, je to pravděpodobně Madonna and Child (1548), které je vystaveno v Nationalmuseum, Stockholm. Náš katalog obsahuje 1 děl umělce Lambert Ryckx. Níže je 1 nejznámějších děl, u každého z nich najdete rok vzniku, místo, kde je lze najít, a to, co je výjimečné.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Lambert Ryckx | Obrazy z tohoto seznamu |
|---|---|---|---|
 Nationalmuseum |
Stockholm | 1 | Madonna and Child |
Všechna díla s datem vzniku od Lambert Ryckx na této stránce pocházejí z jediného roku, 1548. Zde jsou.
Vyberte rok a prohlédněte si jeho díla.
Na vrcholu seznamu je Madonna and Child (1548).
38 let. Lambert Ryckx se narodil(a) v 1510 a dílo Madonna and Child pochází z roku 1548.
V našem katalogu máme 1 děl od Lambert Ryckx.
Většinu z nich najdete v Nationalmuseum (Stockholm). Seznam muzeí výše obsahuje podrobný přehled.
Ano. Každý obraz na této stránce je k dispozici jako ručně malovaná olejná reprodukce nebo jako tisk v rozměru, který vám vyhovuje. Pro objednání stačí otevřít stránku daného obrazu.
In the bustling streets of Antwerpen, a child was born in 1510 who would eventually leave a mark upon the history of painting. This man, known to many as Lambert Ryckx, lived a life that saw him navigate the complex social and artistic circles of the Low Countries. His identity was not fixed by a single name, as the scribes and patrons of his era often recorded him through various iterations. He moved through the world under many titles, including Robbesant Ryckx and Robbesant Rycx. To some, he was simply Robbesant, while others recorded his lineage more formally as Lambert Ryck Aertsz. Ryckx. Such variations in his name reflect the fluid nature of identity in the sixteenth century, where a man might be known by many names depending on the language spoken or the formality of the occasion.
The life of this Dutch artist was shaped by the spirit of his birthplace. Antwerpen provided the foundation for his early years and the training that would define his craft. He was a man of many designations, sometimes called Lambert Rycx or even Lambrecht, a name that echoed through the workshops of his time. His existence was marked by the steady pursuit of his vocation, moving through the decades with the quiet ambition of a craftsman seeking his place in a changing era. He remained a figure of the northern traditions, carrying the weight of his many names and his heritage as he navigated the professional demands of his age.
The career of Lambert Ryckx flourished during a period of great movement, spanning from about 1543 until his departure from the scene in 1572. His path was shaped by the needs of powerful patrons and the necessity of collaboration. In Sweden, he found himself tasked with grand decorative projects, working alongside Baptista van Uther to paint triumphal arches intended for Erik XIV. This significant undertaking required a shared vision and a coordinated effort to meet the demands of the court.
This partnership proved so fruitful that it led the two men to establish a shared studio. They settled in a house situated near Storkyrkan, a location that allowed them to maintain their professional ties to the royal circle. Such a workspace provided the stability needed to sustain their ambitious commissions. Even as the years passed, Ryckx remained a fixture in the service of the Swedish crown, continuing his dedicated work for the court of Johan III until 1572.
Among the works that have survived the passage of time, the Madonna and Child remains a significant piece of his legacy. This painting, also known as Madonna med barnet, was executed in 1548. It offers a glimpse into the devotional subjects that occupied his brush during his years of active practice. The work carries a certain quietude, reflecting the religious sentiments of the era in which he labored.
The preservation of such works is often a matter of fortune and careful stewardship. This particular depiction of the Madonna was acquired by the Nationalmuseum in 1993. It remains part of their permanent collection, held within the halls of the museum where it can be studied by those interested in the traditions of Dutch painting. Such acquisitions ensure that the hand of the artist continues to speak to the public long after the painter has departed.
