Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 1 teost Edvard Orm meie kataloogis
Lühidalt
Edvard Orm kõige tuntum teos on Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734). See asub Strängnäs linnas National Portrait Gallery of Sweden muuseumis. Meie kataloogist leiate 1 teost kunstnikult Edvard Orm; see juhend koondab 1 kõige tuntumat teost koos aastakuga, muuseumiga ja iga teose ajaloolise luguga.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Edvard Orm teosid | Selle nimekirja maalid |
|---|---|---|---|
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker |
Sellel lehel olevad Edvard Orm teosed on kõik aastast 1734. Siin on need kubus kulu ja populaarsuse järjekorras.
Vali aasta, et näha selle aasta teoseid.
Nimekirja tipis on Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734).
64 aastat vanus. Edvard Orm sündis aastal 1670 ning teos Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker pärineb aastast 1734.
Meie kataloogist leiate 1 teost kunstnikult Edvard Orm.
Enamik neist on leetav National Portrait Gallery of Sweden (Strängnäs). Ülemal oleval muuseumite ninal on täielik ülevaade.
Jah. Iga maal on sellel lehel saadav kas käsitsi maalitud õlimaalina või trükkina, teile sobivas suuruses. Tellimiseks avage maali oma leht.
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.
