Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 41 djela Caesar Van Everdingen u našem katalogu
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Najpoznatije djelo umjetnika Caesar Van Everdingen je Woman praying (1650). Možete ga pronaći u muzeju Rijksmuseum u gradu Amsterdam. Sljedeći na listi su Jupiter and Callisto (1655) i Winter (1646). U našem katalogu nalazi se 41 djela umjetnika Caesar Van Everdingen; ovaj vodič izdvaja 40 najpoznatijih, uz godinu nastanka, muzej i priču o svakom platnu.
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
Naručite ručno oslikano od $175 →
Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot1664 · Kunsthandel P. de Boer
Naručite ručno oslikano od $175 →
Portrait of Wollebrand Geleynsz de Jongh (1594-1674), with a servant and a child1674 · Stedelijk Museum
Neka bude vaša od $225 →
View of the Oranjezaal1650 · Huis ten Bosch
Officers and Standard-Bearers of the Old Civic Guard1657 · Stedelijk Museum
Naručite ručno oslikano od $175 →
Nymphs Offering the Young Bacchus Wine, Fruit and Flowers1670 · Museum Kunstpalast
Naručite ručno oslikano od $175 →
Portrait of a Girl as a Huntress1665 · Koninklijk Museum voor Schone Kunsten
Naručite ručno oslikano od $175 →
Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
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Willem Jacobsz Baert (1636-84), Burgomaster of Alkmaar and Amsterdam, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
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Četiri teme koje se najčešće pojavljuju u ovim djelima, svaka s svojim najpoznatijim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Caesar Van Everdingen | Slike iz ovog popisa |
|---|---|---|---|
 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 Museum |
Los Angeles | 1 | Vertumnus and Pomona |
Odaberite desetljeće kako biste vidjeli njegovo najistaknutije djelo.
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.
Na vrhu liste je Woman praying (1650), Rijksmuseum, Amsterdam. Odmah iza njega su: Jupiter and Callisto (1655) i Winter (1646).
34 godina. Caesar Van Everdingen je rođen/a 1616, a djelo Woman praying datira iz 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 i Officers and standard-bearers of New Civic Guard in Alkmaar. Godinu i muzej svakog od njih pronaći ćete u gornjem popisu.
U našem katalogu imamo 41 djela umjetnika Caesar Van Everdingen, datiranih od 1631 do 1678.
Većinu njih možete pronaći u Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) i Huis ten Bosch (Haag). Na gornjoj listi muzeja nalazi se detaljan pregled.
U 1650s, više nego ikada prije: 12 od 40 djela na ovoj stranici potječe iz tog vremena, od čega je Woman praying među njima.
Najstarije djelo ovdje je Vertumnus and Pomona (1631), a najnovije je Joueuse de Cistre (1678).
Woman (12), Man (11) i Drapery (5) od ukupno 40 djela na ovoj stranici.
Oil On Canvas, korišteno u 15 od 40 djela na ovoj stranici.
Baroque i Dutch golden age, kao što možete vidjeti u djelima na ovoj stranici.
Na ovoj stranici možete vidjeti 10 djela u muzeju Stedelijk Museum, Alkmaar, uključujući Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) i Officers and standard-bearers of New Civic Guard in Alkmaar.
Da. Svaka slika na ovoj stranici dostupna je kao ručno oslikana uljana reprodukcija ili kao tisak, u veličini koja vam odgovara. Jednostavno otvorite stranicu slike kako biste je naručili.
U zlatnom dobu nizozemskog slikarstva, u kojem je interakcija svjetla i sjene definirala vizualni identitet jedne nacije, Caesar van Everdingen istaknuo se kao majstor suptilnih emocija i atmosferske dubine. Rođen oko 1616. godine u povijesnom gradu Alkmaaru u Nizozemskoj, njegov je umjetnički put bio duboko isprepleten s prestižnim porijeklom njegove obitelji. Iako se često spominje uz svoju slavnu braću, Allarta i Jana, Caesar je izbrusio vlastiti, poseban prostor unutar Nizozemskog zlatnog doba. Njegovo rano školovanje pod cijenjenim Janom Gerritszom van Bronckhorstom u Utrechtu pružilo mu je čvrste temelje klasične estetike, ulijevajući u njega preciznost koja će mu kasnije omogućiti da nadilazi čistu tehničku vještinu i postigne istinsku umjetničku viziju.
Njegov profesionalni uspon počeo je ozbiljno 1632. godine kada se službeno pridružio cehu u Alkmaaru. Tijekom tih formativnih godina, njegov repertoar obilježili su pedantni portreti i evokativne žanrovske scene, djela koja su zahtijevala intenzivno promatranje ljudskog stanja. Međutim, kako je njegov talent sazrijevao, tako je raslo i njegova ambicija. Izašao je iz okvira doslovnog predstavljanja, razvijajući jedinstivnu sposobnost manipulacije potezima četkice kako bi uhvatio prolazne nijanse svjetlosti i težinu atmosfere. Ova evolucija označila je njegov prijelaz iz vještog zanatlije u vizionarskog slikara sposobnog udahnuti život samom platnu.
Ključno poglavlje u Van Everdingenovom životu otvorilo se 1648. godine kada se preselio u živopisni, kulturno bogati grad Haarlem. Ovaj je potez bio više od promjene okruženja; bila je to uranjanje u samo srce nizozemskog umjetničkog svijeta. Pridruživanjem prestižnom Haarlemskom cehu Svetog Luke i aktivnošću unutar schutterij (građanske garde), Caesar se utkao u samu tkaninu društvene i političke elite grada. Te su veze bile presudne za osiguravanje narudžbi koje će definirati njegov povijesni značaj.
Možda najfascinantnije postignuće njegove karijere bilo je sudjelovanje u dekoraciji Oranje Zaal (Narančaste dvorane) unutar palače Huis ten Bosch. Ovaj monumentalni poduhvat zahtijevao je majstorstvo u povijesnom slikarstvu velikih formata, žanru koji zahtijeva i narativnu složenost i veličanstvenost. U tom okruženju, Caesar je pokazao svoju vještinu u komponiranju epskih scena, spajajući povijesni autoritet s nježnim dodirima. Njegov rad tijekom tog razdoblja pokazao je rastuću sposobnost rukovanja složenim kompozicijama, osiguravajući da njegovo ime ostane utisnuto u arhitektonsku povijest Nizozemske.
U svojim kasnijim godinama, Caesar se vratio svojim korijenima u Alkmaaru, uspostavivši radionicu koja je postala utočište za umjetničko poučavanje. Ovo razdoblje njegovog života obilježeno je dubokom posvećenošću usavršavanju svog zanata i mentorstvom novoj generaciji slikara. Njegova kasna djela odražavaju život akumuliranog mudrosti, karakterizirana ponavljajućim fascinacijom za nebeske i eterične teme. Postao je posebno poznat po prikazima krilatih figura — anđela i božanskih bića — izvedenih s mekoćom koja sugerira prisutnost onoga što je uzvišeno.
Značaj Caesara van Everdingena ne leži samo u njegovim pojedinačnim remek-djelima, već i u njegovoj ulozi mosta između strogih tradicija ranog 17. stoljeća i emocionalnijih, atmosferskih stilova koji su uslijedili. Njegova sposobnost spajanja preciznosti nizozemskog portretizma s veličanstvenošću povijesnog narativa ostaje svjedočanstvo njegove svestranosti. Danas njegova djela služe kao vitalni prozori u dušu Nizozemskog zlatnog doba, podsjećajući nas na vrijeme kada je svaki potez četkice bio pokušaj da se vječnost uhvati unutar prolaznosti.
