Atnaujinta spalis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 15 Vigilius Eriksen darbai mūsų kataloge
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Žymiausias Vigilius Eriksen kūrinys yra Portrait of Caspar von Saldern (1750). Jį galite rasti Ermitažas mieste Šv. Peterburgas. Kitos sąraše yra Portrait of Duke Frederick (1777) ir Portrait of Catherine II in front of a Mirror (1763). Mūsų kataloge yra 15 darbų autoriaus Vigilius Eriksen; šiame vadove pateikiamos 15 žymiausi darbai su informacija apie jų metus, muziejus bei kiekvieno kūrinio istoriją.
A man sits in the quiet gravity of 1750. He is Caspar von Saldern, caught in a moment of formal stillness. His gaze is directed toward the viewer, yet his body is angled slightly to the right, creating a subtle tension in his posture. A powdered wig rests upon his head, its matte texture absorbing the light that falls from the upper left. This light traces the ridge of his…
In this 1777 portrait, we encounter a young man who carries the weight of his station with a quiet, composed grace. He is positioned within a stately interior, a setting that feels both intimate and grand. The composition draws the eye to his upright posture, framed by the heavy, deep red drapery that anchors the right side of the canvas. There is a certain vivacity in his expression that softens…
The gaze of the Empress meets the viewer in Portrait of Catherine II in front of a Mirror, a work that captures the presence of Catherine II with profound authority. The Danish artist Vigilius Eriksen brings this scene to life, having spent his years between 1757 and 1772 within the orbit of the Russian imperial court. In this specific composition, the monarch is presented not merely as a ruler, but…
A single light source strikes from the upper left, carving the face of Pastor A.F. Byushing out of a heavy, dark void. The white of his clerical collar acts as a sharp, bright anchor against the deep shadows of his robe. His powdered wig catches the light, revealing the fine, meticulous texture of the hair. He sits in a quiet, somber space where the faint, indistinct outlines of books on…
A young boy, the Grand Prince Paul Petrovich, occupies the center of this formal scene, his presence commanding the space despite his youth. He stands poised in a scholarly setting, his upright posture mirroring the vertical lines of the heavy bookshelves that frame him. The light, streaming from the upper left, catches the sheen of his coral-pink silk waistcoat and the delicate lace at his cuffs, casting soft shadows that…
The portrait presents Catherine II, Empress of Russia, in a full-length vertical composition that emphasizes her absolute sovereignty. She is positioned centrally, draped in an ermine-lined mantle that cascades in heavy, voluminous folds. The weight of the fabric, rendered in shimmering whites and silvers, contrasts with the deep crimson of the background drapery. Her regalia—a large jeweled crown, a scepter, and an orb—are illuminated by a theatrical light source from…
The oil painting titled Portrait of Catherine II (1729-96), empress of Russia is a work by the Danish artist Vigilius Eriksen. Created in 1772, this portrait depicts Catherine II, Empress of Russia, who lived from 1729 to 1796. The subject is also known as Catherine the Great. The composition focuses on the imperial figure in a formal setting, capturing her likeness during her reign.
The Portrait of Lorenz Spengler, Ivory Turner and Curator of the Royal Danish Kunstkammer is an oil on canvas work by the Danish painter Vigilius Eriksen. The subject of the painting is Lorenz Spengler, a man defined by his skilled hands as an ivory turner and his official role as the curator of the Royal Danish Kunstkammer. He sits within the frame, a figure of quiet professional dignity.
This oil on canvas portrait, executed in 1756, presents a three-quarter view of Gertrud Sabine Spengler from the waist up. The subject is positioned against a dark, atmospheric background that recedes into deep shadow, creating a sense of physical depth. She is dressed in a heavy, shimmering silk gown of a silvery-blue hue. The fabric exhibits meticulous detail, with the paint capturing the subtle highlights and the weight of the…
Keturios dažniausiai pasitaikančios šių kūrinių temos, kiekviena su savo žymiausiu pavyzdžiu.
6 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Vigilius Eriksen darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Ermitažas |
Šv. Peterburgas | 6 | Portrait of Caspar von Saldern, Portrait of Duke Frederick, Portrait of Catherine II in front of a Mirror |
 Statens Museum For Kunst |
Kopenhaga | 5 | Catherine II, Empress of Russia (1729-1796), Portrait of Lorenz Spengler, Ivory Turner and Curator of the Royal Danish Kunstkammer, Gertrud Sabine Spengler, f. Trott |
 Rijksmuseum |
Amsterdamas | 1 | Portrait of Catherine II (1729-96), empress of Russia |
 National Museum of Art, Architecture and Design |
Oslo | 1 | Painting |
 Royal Collection |
Londonas | 1 | Catherine II (1729-96), Empress of Russia |
 National Gallery of Denmark |
Kopenhaga | 1 | The Queen Dowager Juliane Marie |
Pasirinkite dešimtmetį, kad pamatytumėte jo išskirtinį kūrinį.
A man sits in the quiet gravity of 1750. He is Caspar von Saldern, caught in a moment of formal stillness. His gaze is directed toward the viewer, yet his body is angled slightly to the right, creating a subtle tension in his posture. A powdered wig rests upon his head, its matte texture absorbing the light that falls from the upper left. This light traces the ridge of his…
The gaze of the Empress meets the viewer in Portrait of Catherine II in front of a Mirror, a work that captures the presence of Catherine II with profound authority. The Danish artist Vigilius Eriksen brings this scene to life, having spent his years between 1757 and 1772 within the orbit of the Russian imperial court. In this specific composition, the monarch is presented not merely as a ruler, but…
In this 1777 portrait, we encounter a young man who carries the weight of his station with a quiet, composed grace. He is positioned within a stately interior, a setting that feels both intimate and grand. The composition draws the eye to his upright posture, framed by the heavy, deep red drapery that anchors the right side of the canvas. There is a certain vivacity in his expression that softens…
Pirmoje vietoje yra Portrait of Caspar von Saldern (1750), Ermitažas, Šv. Peterburgas. Tuoj antras, Portrait of Duke Frederick (1777), o trečias – Portrait of Catherine II in front of a Mirror (1763).
28 mmet. Vigilius Eriksen gimė 1722, o Portrait of Caspar von Saldern datuojama 1750 m.
Portrait of Caspar von Saldern, Portrait of Duke Frederick, Portrait of Catherine II in front of a Mirror, Portrait of Pastor A.F. Byushing, Portrait of Grand Prince Paul Petrovich in the Classroom, Catherine II, Empress of Russia (1729-1796), Portrait of Catherine II (1729-96), empress of Russia, Portrait of Lorenz Spengler, Ivory Turner and Curator of the Royal Danish Kunstkammer, Gertrud Sabine Spengler, f. Trott ir Painting. Viršujei esančiame sąraše rasite kiekvieno kūrinio metus ir muziejų.
Mūsų kataloge yra 15 Vigilius Eriksen darbų, datuojamų nuo 1750 iki 1782.
Daugumą jų rasite Ermitažas (Šv. Peterburgas), Statens Museum For Kunst (Kopenhaga) ir Rijksmuseum (Amsterdamas). Viršuje pateiktame muziejų sąraše yra išsami informacija.
1750s laikotarpyje – daugiau nei bet kada kitais: 7 iš 15 šioje pusėje esamų darbų date iš to laiko, iš jų Portrait of Caspar von Saldern.
Seniausias čia esantis kūrinys yra Portrait of Caspar von Saldern (1750), o naujausias – Catharina II of Russia and her stallion Brillante (1782).
Woman (5), Man (4) ir Gold embroidery (3) iš 15 darbų šiame puslapyje.
Oil On Canvas, naudojamas 11 iš 15 šioje pusėje esančių darbų.
Rococo, kaip matote šioje puslapio kolekcijoje.
Šioje pusėje laikinėje Ermitažas, Šv. Peterburgas galima pamatyti 6 kūrinių, įskaitant Portrait of Caspar von Saldern, Portrait of Duke Frederick ir Portrait of Catherine II in front of a Mirror.
Taip. Kiekvienas šioje pusėje esantis paveikslas galėto būti užsakytas kaip ranku dažytas aliejus reprodukcija arba spausdinys jums patinkaniu dydžiu. Norėdami užsakyti, tiesiog atidarykite paveikslą.
Vigilius Erichsen stands as a distinguished figure in the annals of eighteenth-century portraiture, a painter whose life and career were intimately woven into the fabric of European royalty. Born in Copenhagen, Denmark, he began his artistic journey under the guidance of the portrait painter Johann Salomon Wahl. This early apprenticeship laid the foundation for a technique defined by precision and a remarkable ability to capture the essence of his subjects. Although he achieved significant recognition, his path was not without its hurdles; notably, despite winning a gold medal at the Royal Danish Academy of Fine Arts in 1755, he was denied formal entry into the institution itself.
Erichsen’s talent soon propelled him far beyond the borders of his homeland. Between 1757 and 1772, he traveled to Saint Petersburg, where his reputation flourished within the Russian imperial court. It was during this period that he ascended to the prestigious role of imperial court painter, leaving behind a legacy of works that captured the grandeur of the era, including several portraits of Catherine the Great. His ability to render the nobility with both accuracy and elegance earned him comparisons to masters like Titian, as admirers marveled at his skill in capturing the very soul of the sitter.
The artistry of Erichsen is characterized by a sophisticated command of detail and a subtle use of light. His work often reflects the elegance of the Rococo style, yet he possessed a unique capacity to imbue his portraits with psychological depth that transcended mere decoration. In his renderings, one finds a meticulous attention to the textures of wealth—the delicate lace of a gown or the shimmering surface of silk—achieved through masterful brushwork and the strategic use of chiaroscuro. This interplay of light and shadow allowed him to create forms that felt both substantial and lifelike.
Beyond the technical brilliance, Erichsen’s portraits often serve as windows into the political and personal lives of the Danish and Russian courts. His later works in Denmark, such as his depictions of Dowager Queen Juliana Maria, demonstrate a profound ability to navigate the complexities of his subjects' status. Whether through the symbolic use of an open doorway or the poignant inclusion of a memorial bust, his compositions often whispered stories of transition, loss, and resilience, making him much more than a mere recorder of faces, but a chronicler of an age.
The breadth of Erichsen's output was as varied as the subjects he encountered. While he is celebrated for his large-scale oil portraits, his versatility extended to the delicate medium of miniature enamel paintings. These small-scale works, which included depictions of Frederick V and Catherine the Great, showcased a different facet of his virtuosity, requiring an even more intense focus on minute detail and color gradation. This range of skill ensured that his influence was felt across different scales of art appreciation.
Ultimately, the life of Vigilius Erichsen was one of significant achievement and courtly service. From his beginnings in Copenhagen to the heights of the Russian imperial court and his eventual return to Denmark as a royal portraitist for Christian VI, he remained a central figure in the visual identity of the era's most powerful figures. His death in Rungstedgård marked the end of a career that had successfully bridged the gap between the decorative elegance of the Rococo and a deeper, more humanistic approach to the art of portraiture.
