Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 7 værker af Hans Raphon i vores katalog
Kort sagt
Det mest kendte maleri af Hans Raphon er Passion Altarpiece: Descent of the Holy Spirit (1499), som du kan se på Nationalgalleriet i Prag i Prag. Lige efter følger Passion Altarpiece: Man of Sorrows (1499) og Passion Altarpiece: The Resurrection (1499). Ud af 7 værker af Hans Raphon i vores katalog er disse 7 de mest kendte. Hvert værk er ledsaget af årstal, museum og en kort note om, hvad der gør det bemærkelsesværdigt.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Hans Raphon | Malerier fra denne liste |
|---|---|---|---|
 Nationalgalleriet i Prag |
Prag | 7 | Passion Altarpiece: Descent of the Holy Spirit, Passion Altarpiece: Man of Sorrows, Passion Altarpiece: The Resurrection |
1499 er det år, hvor alle daterede værker af Hans Raphon på denne side blev skabt. Her er de, med de mest berømte først.
Vælg et årstal for at se værkerne fra det år.
Øverst på listen er Passion Altarpiece: Descent of the Holy Spirit (1499), Nationalgalleriet i Prag, Prag. Lige efter kommer: Passion Altarpiece: Man of Sorrows (1499) og Passion Altarpiece: The Resurrection (1499).
39 år gammel. Hans Raphon blev født i 1460, og Passion Altarpiece: Descent of the Holy Spirit er fra 1499.
Vi har 7 værker af Hans Raphon i vores katalog.
Du finder de fleste af dem i Nationalgalleriet i Prag (Prag). Listen over museer ovenfor giver en fuldstændig oversigt.
I 1499, mere end på andre tidspunkter: 7 af de 7 værker på denne side stammer fra dengang, herunder Passion Altarpiece: Descent of the Holy Spirit.
Du kan se 7 af værkerne på denne side på Nationalgalleriet i Prag, Prag, herunder Passion Altarpiece: Descent of the Holy Spirit, Passion Altarpiece: Man of Sorrows og Passion Altarpiece: The Resurrection.
Ja. Hvert maleri på denne side er tilgængeligt som en håndmalet oliereproduktion eller som et print i den størrelse, der passer dig. Åbn blot maleriets side for at bestille.
Hans Raphon lived through a period of profound religious and social change in Germany. Born around 1460, he was a man deeply embedded in the spiritual life of his community. His role was not limited to the studio; from 1502 to 1508, he served as the dean of St. Alexandri Abbey in Einbeck. This position suggests a life spent navigating the intersection of sacred duty and the practical demands of art. He eventually passed away in Northeim, leaving behind a legacy of wood and oil that helped shape the visual language of his era.
His hands were often busy in collaboration. He worked alongside the sculptor and woodcarver Bartold Kastrop, particularly on smaller altarpieces where the painter's brush met the carver's chisel. This partnership allowed for a physical depth in their shared works, blending different textures of devotion. His influence reached forward to the next generation, touching the work of Hans von Geismar.
Much of Raphon's most significant work was born from the needs of the church. In 1499, he began a massive undertaking for the Pauline Church in Göttingen: a Passion Altarpiece consisting of 41 panels. This work was a massive commitment of time and skill. During the Reformation, the altarpiece was moved to Walkenried Abbey, and today, its panels can be found in the National Gallery in Prague. One of the most moving pieces from this collection is the Agony in the Garden, an oil on panel that captures a quiet, heavy moment of human suffering.
His ability to handle complex religious narratives is seen in several other major commissions:
Raphon's work was often designed to be seen in the flickering light of a cathedral or a private chapel. His winged altars were not static images but changing stories, meant to be opened or closed according to the liturgical calendar. This required a deep understanding of how light and shadow would interact with the painted surfaces and the carved wood. Through these objects, he provided a way for people to touch and see the stories of their faith, making the divine feel present in the physical space of the church.
