Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 5 teosta taiteilijalta Daniël Bruyninx luettelossamme
Lyhyesti
Teos Portrait of a man (1761) on se Daniël Bruyninx maalaus, jonka useimmat tuntevat, ja sen voit nähdä museossa Rijksmuseum, Amsterdam. Heti niiden jälkeen seuraavat Portrait of a Man (1750) ja Portrait of a Lady with Fan (1758). Daniël Bruyninxin 5 teoksesta meidän valikoimassamme nämä 5 ovat tunnetuimpia. Jokaisesta on ilmoitettu vuosi, museo sekä lyhyt kuvaus siitä, mikä tekee teoksesta erityisen.
A young man turns his head in a three-quarter view, caught in a moment of quiet stillness. He wears a coat of deep cobalt blue, its surface catching the light to reveal the warmth of gold embroidery. A sliver of red lining peeks from the edge of the garment, a sharp note against the cool tones of the fabric. His hair is a cloud of powdered white, styled in meticulous…
Museo, jossa on eniten tämän sivun maalauksista.
| Museo | Kaupunki | Daniël Bruyninx teokset | Tämän listan maalaukset |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 5 | Portrait of a man, Portrait of a Man, Portrait of a Lady with Fan |
Valitse vuosikymmen nähdäksesi sen merkittävimmän teoksen.
A young man turns his head in a three-quarter view, caught in a moment of quiet stillness. He wears a coat of deep cobalt blue, its surface catching the light to reveal the warmth of gold embroidery. A sliver of red lining peeks from the edge of the garment, a sharp note against the cool tones of the fabric. His hair is a cloud of powdered white, styled in meticulous…
Listan kärjessä on Portrait of a man (1761), Rijksmuseum, Amsterdam. Heti sen jälkeen tulevat Portrait of a Man (1750) ja Portrait of a Lady with Fan (1758).
37 vuotta. Daniël Bruyninx syntyi vuonna 1724, ja teos Portrait of a man on peräisin vuodelta 1761.
Luettelossamme on 5 teosta taiteilijalta Daniël Bruyninx, aikaväliltä 1750–1776.
Löydät useimmat niistä Rijksmuseum (Amsterdam). Yllä oleva museolista sisältää täydellisen erittelyn.
Ajanjaksona 1750s on merkittävämpi kuin mikään muu: 2 sivun 5 teoksesta on peräisin tuolta ajalta, joista Portrait of a Man on Portrait of a Man.
Vanhin teos täällä on Portrait of a Man (1750); uusin on Portrait of a Woman (1776).
Voit nähdä tällä sivulla 5 teosta Rijksmuseum, Amsterdam -museossa, mukaan lukien Portrait of a man, Portrait of a Man ja Portrait of a Lady with Fan.
Kyllä. Jokainen tämän sivun teos on saatavilla käsinmaalatun öljyreproosion tai painoksena juuri sinulle sopivassa koossa. Avaa teoksen sivu tilataksesi sen.
In the quiet studios of the eighteenth century, Daniël Bruyninx sought to capture the essence of a person within the smallest of margins. A Dutch miniaturist, he worked with a precision that demanded both a steady hand and a keen eye for the subtle nuances of human character. His life was defined by this intimacy, focusing on the delicate task of translating a living likeness onto surfaces as fragile as ivory or paper. To look upon his work is to see the era's social fabric woven into tiny, portable treasures.
His skill was such that his likenesses were often translated into other forms, becoming the basis for engravings and prints. He did not merely paint a face; he captured a presence that others sought to replicate. Through his brush, the fleeting expressions of the Dutch aristocracy were preserved, ensuring that a moment of dignity or a soft glance could be held in the palm of a hand.
The work of Bruyninx reveals a man deeply embedded in the visual culture of his time. His portraits often featured the nobility and the prominent figures of the Dutch landscape, such as the likeness of Amelia Maria Edle Goll van Franckenstein-Diepen. These pieces were more than simple likenesses; they were intimate objects of devotion and memory. He utilized various materials to achieve his ends, working with:
His influence extended beyond the physical painting itself. Many of his compositions were used by printmakers like Reinier Vinkeles to create etchings, allowing his visual language to reach a wider audience than the original miniatures ever could. This transition from the private, handheld portrait to the public, printed image speaks to the enduring nature of his compositions. Even when his work was reimagined by others, the core of his vision remained the foundation of the image.
