Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 41 teost Caesar Van Everdingen meie kataloogis
Lühidalt
Caesar Van Everdingen kõige tuntum teos on Woman praying (1650). See asub Amsterdam linnas Rijksmuseum muuseumis. Listis järgmised on Jupiter and Callisto (1655) ja Winter (1646). Meie kataloogist leiate 41 teost kunstnikult Caesar Van Everdingen; see juhend koondab 40 kõige tuntumat teost koos aastakuga, muuseumiga ja iga teose ajaloolise luguga.
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
A single mask lies discarded in the upper corner, a silent witness to a deception. Beneath it, the nymph Callisto reclines upon heavy folds of fabric, her skin catching a pale, directional light that carves her form from the surrounding gloom. She looks upward, her gaze meeting the eyes of a man she believes to be a friend, yet the viewer sees the truth of his divinity. Jupiter stands near…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
This work, titled Vertumnus and Pomona, is a significant example of the mythological painting produced by Caesar van Everdingen. The piece is dated about 1637–1640, a period during which the artist was establishing his presence within the Dutch Golden Age. It is a work that captures a specific moment of classical narrative, rendered with the precision characteristic of his training in Utrecht.
In this 1641 portrait, we find ourselves standing before a dense assembly of men, the officers of the Orange Company of the Old Civic Guard. There is a certain weight to the composition, a horizontal arrangement that feels both crowded and deeply organized. These men are not merely subjects; they are a collective force, their postures providing a structural rhythm to the canvas. The lighting, descending from the upper left,…
This 1636 oil portrait presents a three-quarter length view of an elderly woman, Aechje Claesdr. Moer, set against a somber, atmospheric backdrop. The composition relies on a sharp tonal contrast between her dark, light-absorbing gown and a large, bright white ruff collar. This millstone ruff, with its rhythmic pleats, directs the eye toward the subject's face, which is rendered with naturalistic precision. A soft, directional light enters from the upper…
This Baroque-style oil painting presents an intimate mythological scene featuring two figures, Vertumnus and Pomona, set against a dark and atmospheric landscape. The composition centers on a tactile exchange of fruit between a seated figure on the left and a woman on the right. The scene is characterized by a dramatic use of chiaroscuro, where light highlights the faces and hands of the subjects while casting much of the background…
The work before us is the Portrait of an unknown girl, a quiet study by the Dutch Golden Age painter Caesar van Everdingen. This portrait, which is also known by the titles Girl in a Large Hat or Meisje met brede hoed, offers a glimpse into the meticulous portraiture practiced during the mid-17th century. It captures a sense of individual presence through a restrained and dignified approach to the subject.
The painting titled Officers and standard-bearers of New Civic Guard in Alkmaar was executed by the Dutch Golden Age painter Caesar van Everdingen. This large-scale work dates to about 1657. The subject matter consists of a group of officers and standard-bearers, who likely represent a civic militia. These men are gathered in a formal arrangement that reflects their communal role within the city of Alkmaar, Netherlands.
Portrait of Cornelis Jacobsz. Groot (?-1661)1656 · Kunsthandel P. de Boer
Handmaalisena ostmine alates $175 →
Lycurgus Demonstrates the Benefits of Education1660 · Stedelijk Museum
Tee see oma uksaks alates $400 →
Self-portrait of Caesar van Everdingen (?-1678)1670 · Stedelijk Museum
Tee see oma uksaks alates $175 →
Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot1664 · Kunsthandel P. de Boer
Handmaalisena ostmine alates $175 →
Portrait of Wollebrand Geleynsz de Jongh (1594-1674), with a servant and a child1674 · Stedelijk Museum
Tee see oma uksaks alates $225 →
View of the Oranjezaal1650 · Huis ten Bosch
Count Willem II of Holland Granting Privileges1655 · Gemeenlandshuis
Tee see oma uksaks alates $175 →
Officers and Standard-Bearers of the Old Civic Guard1657 · Stedelijk Museum
Handmaalisena ostmine alates $175 →
Nymphs Offering the Young Bacchus Wine, Fruit and Flowers1670 · Museum Kunstpalast
Handmaalisena ostmine alates $175 →
Portrait of a Girl as a Huntress1665 · Koninklijk Museum voor Schone Kunsten
Handmaalisena ostmine alates $175 →
Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
Tee see oma uksaks alates $175 →
Willem Jacobsz Baert (1636-84), Burgomaster of Alkmaar and Amsterdam, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
Tee see oma uksaks alates $175 →
Neli kõige sagedamini esinemist vajavat teemat koos nende kõige tuntumate näidetega.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Caesar Van Everdingen teosid | Selle nimekirja maalid |
|---|---|---|---|
 Stedelijk Museum |
Alkmaar | 10 | Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Officers and standard-bearers of New Civic Guard in Alkmaar |
 Rijksmuseum |
Amsterdam | 6 | Woman praying, Winter, Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 1671 |
 Huis ten Bosch |
Haag | 4 | Four Muses and Pegasus on Parnassus, Allegory of the Birth of Frederik Hendrik, View of the Oranjezaal |
 Nationalmuseum |
Stockholm | 2 | Jupiter and Callisto, Female Figure, possibly Lucretia |
 Kunsthandel P. de Boer |
2 | Portrait of Cornelis Jacobsz. Groot (?-1661), Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot | |
 Mauritshuis |
Haag | 2 | Diogenes Seeks a True Man, Still-Life with a Bust of Venus |
 Thyssen-Bornemisza Museum |
Madrid | 1 | Vertumnus and Pomona |
 J. Paul Getty muuseum |
Los Angeles | 1 | Vertumnus and Pomona |
Vali vuosakülg, et näha selle erimärgilisi teost.
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures across multiple levels—from a raised platform in the rear to steps and seated positions in the foreground. A central group dominates the immediate view, while other figures recede into the distance. Diagonals cut through the scene, pulling the eye through the gathering…
This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers a direct encounter with the artist himself during his later years. It is a significant example of the individual's ability to capture his own likeness with a sense of dignity and introspection.
Nimekirja tipis on Woman praying (1650), Rijksmuseum, Amsterdam. Kohe selle järel: Jupiter and Callisto (1655) ja Winter (1646).
34 aastat vanus. Caesar Van Everdingen sündis aastal 1616 ning teos Woman praying pärineb aastast 1650.
Woman praying, Jupiter and Callisto, Winter, Vertumnus and Pomona, Vertumnus and Pomona, Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Vertumnus and Pomona, Portrait of an unknown girl ja Officers and standard-bearers of New Civic Guard in Alkmaar. Üri loetlist esmalt leida iga teose kuupäev ja muuseum.
Meie kataloogist leiate 41 teost kunstnikult Caesar Van Everdingen, mis on pärinev ajavahemikus 1631 kuni 1678.
Enamik neist on leetav Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) ja Huis ten Bosch (Haag). Ülemal oleval muuseumite ninal on täielik ülevaade.
1650s ahel on rohkem kui kunagi varem: 12 40 teoseid sellel lehel pärineb sellest ajast, მათtagu Woman praying.
Kõige vanem teos siin on Vertumnus and Pomona (1631); kõige värskeim on Joueuse de Cistre (1678).
Woman (12), Man (11) ja Drapery (5) 40 teoseทั้งหมด sellel lehel.
Oil On Canvas, mida on kasutatud 15 teoseks 40 teose kohta sellel lehel.
Baroque ja Dutch golden age, nagu näet selle lehekülje teosest.
Sellel lehel on Stedelijk Museum, Alkmaar kogumikus 10 teost, sealhul ka Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) ja Officers and standard-bearers of New Civic Guard in Alkmaar.
Jah. Iga maal on sellel lehel saadav kas käsitsi maalitud õlimaalina või trükkina, teile sobivas suuruses. Tellimiseks avage maali oma leht.
Hollandi maaliami ajastu kuldajal, mil valgus ja vari omavaheline mäng määras kogu rahva visuaalse identiteedi, tõusevaks peenud emotsioonide ja atmosfäärilise sügavuse meistiks Caesar van Everdingen. Sündinud umbes 1616. aastal ajaloolises Hollandi linnas Alkmaar, oli tema kunstiline teekond sügavalt seotud tema päritolu prestiižse enough sugukonnaga. Kuigi teda arutatakse sageli koos tema kuulsate vendade Allart ja Janiga, suutsid Caesar ja Caesar lõi endale eraldi koha Hollandi kuldajajal. Tema varajane õppimine Austrias Utrechtis auast Jan Gerritsz van Bronckhorsti juures andis talle rangusa klassikalise esteetika aluse, instilleerides temasse täpsust, mis võimaldas teda hiljem ületada pelgama tehnilist oskust ja saavutada tõelise kunstilise visiooni.
Tema professionaalne kukoimine sai tõeliseks 1632. aastal, mil ta liitus ametlikult Alkmaari guildiga. Need kujunemisaastad olid tema repertuaari iseloomuliseks osaks hoolikalt tehtud portreid ja emotsionaalselt kütkavad žanriteened – teosed, mis nõudsid inimliku olemuse intensiivset jälgimist. Kuid koos tema talendi täitumisega kasvas ka tema ambitsioon. Ta astus välja puhtalt kirjandusliku esituse piiridest, arendades unikaalse võime manipuleerida pintooni, et tabada valgusest kaduvikke nüansse ja atmosfääri raskust. See areng märkis tema üleminekut oskuslikust käsitöölist visjonärlikuks maalari, kes suutas lõplatult ellu tuua kangi.
Van Everdingeni elu murdepunkt sündis 1648. aastal, mil ta koli kultuuriliselt rikkasse ja elavasse Haarlemu linna. See liikumine polnud pelgalt vaatevahetus; see oli sisseelamine Hollandi kunstimaailma südamesse. Liitudes prestiižsese Haarlemu Püha Luki guildiga ja muutudes aktiivseks schutterij (linnaväe) seas, sisse sulandus Caesar linna sotsiaalse ja poliitilise eliidi sotsiaalsete sidete kudelasse. Need kontaktid olid otsustaval rollil tellimuste hankimisel, mis lõpuks määras tema ajaloolise tähtsuse.
Esimene ja kütkestavaim tema karjääri saavutus oli osalemine Huis ten Bosch palatsis asuva Oranje Zaal (Kuldne saal) dekoreerimisel. See monumentaalne ülesanne nõudis suurskaalilise ajaloolise maali kunstiline meistriklassi – žanrit, mis eeldas nii narratiivset keerukust kui ka grandioosust. Selles keskkonnas demonstreeris Caesar oma võimekust koostada eepilisi stseene, ühendades ajaloolise tõsiduse peenelt puudutusega. Tema töö sel perioodil näitas kasvavat võimet hallata keerulisi kompositsiooni, tagades, et tema nimi jääks etgendaks Hollandi arhitektuurilisse ajalukku.
Tema elu lõppsaastatel naasis Caesar oma juurde Alkmaari, raamatues töökoja, mis sai kunstilise õpetuse pühakoda. See periood tema elus oli iseloomulik sügav pühendumus oma käsitöö täiustamisele ja uue maalari põlvkonna mentorile. Tema hilisema ajastu teosed peegeldavad kogu elu jooksul kogunenud tarkust, mida iseloomustas korduv fassinatsioon taevaslikud ja eeterilised teemad. Ta sai eriti kuulsaks oma lendivate figuuride – inglite ja jumalalikud olendid – kujutamistest, mis olid tehtud nii pehmusega, et need viitasid sublimeeritud korduse kohale.
Caesar van Everdingeni tähtsな ei peitu mitte ainult tema üksikutes meistriteostes, vaid ka tema rollis sillana 17. sajandi alguse rangete traditsioonide ja järglaste emotiivsemate ning atmosfääriliste stiilide vahel. Tema võime ühendada hollandi portreetide täpsust ajaloolise narratiivi suurendusega on tunnistus tema mitmekülgsusest. Täna toimivad tema teosed elutähtsad akenid Hollandi kuldaja lõmike, meelestades meid ajast, mil iga pintooni tõlgendus oli katsumus tabada igavuslikku asja asjalikust ja kaduvast.
