Portret van Jan Rustem

Maak kennis met de 15 beroemdste schilderijen van Jan Rustem

Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 15 werken van Jan Rustem in onze catalogus

Kortom

Als u één schilderij van Jan Rustem kent, is dat waarschijnlijk Diana resting (1790), dat in het Nationaal Museum in Warschau in Warschau hangt. Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) en Portrait of Anna of Puczyńskis (1807) maken de drie werken compleet die mensen direct herkennen. Onze catalogus bevat 15 werken van Jan Rustem. Hieronder vindt u de 15 bekendste werken, elk met het jaartal, de locatie en wat het werk zo bijzonder maakt.

1762 – 1835, Istanbul Meeste werken: Nationaal Museum in Warschau

Begin hier: de top 10 schilderijen van Jan Rustem

1
Diana resting (1790) door Jan Rustem

Diana resting

1790 · Oil On Canvas · Nationaal Museum in Warschau, Warschau

In Jan Rustem's "Diana resting," the scene unfolds across a horizontal and balanced landscape that invites the eye to wander through a moment of quietude. At the heart of this arrangement, a reclining nude female figure rests, her form bathed in a gentle, luminous light that seems to emanate from the upper left. This soft glow traces the curves of her skin and highlights the smoothness of her limbs against…

Handgeschilderde olieverfreproductie vanaf $250 47 × 21 cm Zelfde formaat als het origineel $558 160 × 72 cm Bestel in de originele afmetingen →
Maak het van u Maak kennis met dit werk
2
Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) door Jan Rustem

Portrait of Karolina Kublicka née Sołtan(ca. 1780–?)

1805 · Oil On Canvas · Nationaal Museum in Warschau, Warschau

In this classical oil portrait, Jan Rustem presents the Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), a bust-length study of a young woman. The composition is intimate, utilizing a close-up perspective that brings the viewer into the subject's immediate presence. She is positioned slightly off-center, her head turned in a three-quarter view toward the left of the frame. This subtle positioning creates a sense of quietude, as if we have…

Handgeschilderde olieverfreproductie vanaf $175 30 × 34 cm Zelfde formaat als het origineel $183 34 × 38 cm Bestel in de originele afmetingen →
Bestel dit werk Meer over dit werk
3
Portrait of Anna of Puczyńskis (1807) door Jan Rustem

Portrait of Anna of Puczyńskis

1807 · Oil On Panel · Nationaal Museum in Warschau, Warschau

In the Portrait of Anna of Puczyńskis by Jan Rustem, a woman is captured in a bust-length study, her form positioned slightly off-center against a void of deep browns. She turns her gaze toward the viewer, her eyes holding a subtle, enigmatic expression that remains fixed and quiet. Dark, wavy hair frames a face of pale ochre and creamy whites, catching a soft light that defines the contours of her…

Handgeschilderde olieverfreproductie vanaf $175 29 × 35 cm
Bestel dit werk Meer over dit werk
4
Portrait of Joseph Saunders (1733–1845) (1810) door Jan Rustem

Portrait of Joseph Saunders (1733–1845)

1810 · Oil On Canvas · Nationaal Museum in Warschau, Warschau

In this 1810 oil portrait, we encounter Joseph Saunders, a man whose presence is felt through a quiet, dignified composure. The composition is a bust-length study, positioning the subject slightly off-center as he gazes toward the right of the frame. There is a certain stillness here, a moment captured in the soft, directional light that enters from the upper left. This illumination carves out the volume of his face, casting…

Handgeschilderde olieverfreproductie vanaf $175 29 × 35 cm
Laat het handbeschilderen Lees het verhaal
5
Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska. (1808) door Jan Rustem

Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska.

1808 · Oil · Nationaal Museum in Warschau, Warschau

The air on this paved terrace feels still, caught in the soft, luminous glow of a twilight sky. Two women and a small child occupy this space, framed by the heavy, silent presence of large architectural columns. On the left, a woman stands with a graceful, fluid movement, her white gown catching the light with a silky sheen. She holds a shallow dish aloft, an action that feels part of…

Handgeschilderde olieverfreproductie vanaf $225 28 × 35 cm Zelfde formaat als het origineel $773 125 × 159 cm Bestel in de originele afmetingen →
Laat het handbeschilderen Lees het verhaal
6
Portrait of Aniela Nowicka née Popławska (1807) door Jan Rustem

Portrait of Aniela Nowicka née Popławska

1807 · Oil On Canvas · Nationaal Museum in Warschau, Warschau

The light enters from the upper left, brushing against the soft contours of Aniela Nowicka’s face with a gentle, directional touch. She sits in a three-quarter view, her gaze meeting the viewer with a calm that feels both poised and deeply private. There is a stillness here, a moment frozen in the early 19th century, where the deep, muted olive green of her drapery melts into a dark, nearly black…

Handgeschilderde olieverfreproductie vanaf $175 28 × 36 cm Zelfde formaat als het origineel $225 47 × 58 cm Bestel in de originele afmetingen →
Laat het handbeschilderen Lees het verhaal
7
Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev (1807) door Jan Rustem

Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev

1807 · Oil On Canvas · Nationaal Museum in Warschau, Warschau

In this 1807 oil on canvas, we encounter a young woman captured in a moment of quietude. She is positioned slightly off-center, her gaze directed toward the left of the frame, creating a sense of introspective stillness. The composition is a bust-length portrait, where the soft, somewhat weathered texture of the paint suggests the passage of time. Her dark, curly hair provides a sharp textural contrast to the smooth, porcelain-like…

Handgeschilderde olieverfreproductie vanaf $175 29 × 34 cm Zelfde formaat als het origineel $241 52 × 62 cm Bestel in de originele afmetingen →
Bestel dit werk Meer over dit werk
8
Self-portrait of Jonas Rustemas (1815) door Jan Rustem

Self-portrait of Jonas Rustemas

1815 · Oil On Canvas · Lithuanian National Museum of Art, Vilnius

In this close-up bust portrait, titled Self-portrait of Jonas Rustemas, the artist Jan Rustem presents himself as a middle-aged man. The subject is positioned slightly off-center, creating a subtle tension within the frame. He looks directly toward the viewer with a piercing, somewhat stern expression that demands immediate attention. This direct gaze establishes an intimate connection between the subject and the observer, stripping away any sense of artifice.

Handgeschilderde olieverfreproductie vanaf $175 28 × 36 cm
Laat het handbeschilderen Lees het verhaal
9
Portrait of Edward Jan Römer (1806–1878) (1824) door Jan Rustem

Portrait of Edward Jan Römer (1806–1878)

1824 · Oil · Nationaal Museum in Warschau, Warschau

In this intimate oil portrait, we find ourselves in the presence of a young man, Edward Jan Römer, captured during a period of profound transition in his life. The composition is a close-up bust portrait, positioning the subject slightly off-center as he gazes toward the left of the frame. There is a certain stillness here, a moment of contemplation frozen in time. The lighting, descending softly from the upper left,…

Handgeschilderde olieverfreproductie vanaf $175 29 × 34 cm
Laat het handbeschilderen Lees het verhaal

Meer favorieten van Jan Rustem, van 11 tot 15

Wat Jan Rustem het meest schilderde

De vier onderwerpen die het vaakst voorkomen in deze werken, elk met zijn bekendste voorbeeld.

Waar u de schilderijen van Jan Rustem kunt bekijken

De 2 musea met de meeste schilderijen op deze pagina.

Museum Stad Werken van Jan Rustem Schilderijen uit deze lijst
Nationaal Museum in Warschau, WarschauNationaal Museum in Warschau Warschau 13 Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), Portrait of Anna of Puczyńskis
Lithuanian National Museum of Art, VilniusLithuanian National Museum of Art Vilnius 2 Self-portrait of Jonas Rustemas, Portrait of Professor Josef Frank (1771–1842). Ca. 1819

Jan Rustem decennium voor decennium: elk een meesterwerk

Werken per decennium

Kies een decennium om het meesterwerk te bekijken.

Uw vragen over de schilderijen van Jan Rustem

Welk schilderij van Jan Rustem is het meest bekend?Bekijk het antwoord

De lijst wordt aangevoerd door Diana resting (1790), Nationaal Museum in Warschau, Warschau. Direct daarna volgen: Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) en Portrait of Anna of Puczyńskis (1807).

Hoe oud was Jan Rustem toen Diana resting werd gemaakt?Bekijk het antwoord

28 jaar oud. Jan Rustem werd geboren in 1762, en Diana resting dateert uit 1790.

Wat zijn de 10 bekendste schilderijen van Jan Rustem?Bekijk het antwoord

Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), Portrait of Anna of Puczyńskis, Portrait of Joseph Saunders (1733–1845), Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska., Portrait of Aniela Nowicka née Popławska, Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev, Self-portrait of Jonas Rustemas, Portrait of Edward Jan Römer (1806–1878) en Male portrait. U vindt het jaar en het museum van elk werk in de bovenstaande lijst.

Hoeveel schilderijen heeft Jan Rustem gemaakt?Bekijk het antwoord

We hebben 15 werken van Jan Rustem in onze catalogus, gedateerd van 1790 tot 1824.

Waar kun je de beroemde schilderijen van Jan Rustem bekijken?Bekijk het antwoord

U vindt de meeste van deze werken in Nationaal Museum in Warschau (Warschau) en Lithuanian National Museum of Art (Vilnius). De bovenstaande museumlijst geeft een volledig overzicht.

Wanneer schilderde Jan Rustem de bekendste werken?Bekijk het antwoord

In 1800s, meer dan op welk ander moment dan ook: 5 van de 15 werken op deze pagina dateren uit die tijd, waarvan Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) een specifiek werk.

Welke beroemde schilderijen van Jan Rustem kwamen als eerste en als laatste?Bekijk het antwoord

Het oudste werk hier is Diana resting (1790); het meest recente is Portrait of Edward Jan Römer (1806–1878) (1824).

Welke onderwerpen komen het meest voor in de schilderijen van Jan Rustem?Bekijk het antwoord

Woman (6), Portrait (6) en Man (4), van de 15 werken op deze pagina.

Met welke materialen schilderde Jan Rustem het meest?Bekijk het antwoord

Oil On Canvas, gebruikt in 6 van de 15 werken op deze pagina.

Welke werken van Jan Rustem zijn te zien in het Nationaal Museum in Warschau?Bekijk het antwoord

U kunt 13 van de werken op deze pagina zien in het Nationaal Museum in Warschau, Warschau, waaronder Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) en Portrait of Anna of Puczyńskis.

Kan ik een reproductie krijgen van een schilderij van Jan Rustem?Bekijk het antwoord

Ja. Elk schilderij op deze pagina is verkrijgbaar als handgeschilderde olieverfreproductie of als print, in de maat die bij u past. Open simpelweg de pagina van het schilderij om te bestellen.

Maak kennis met Jan Rustem

A Life Bridging Cultures: The Story of Jonas Rustemas

Jonas Rustemas, a name often echoed alongside his Polish alias Jan Rustem, occupies a fascinating, yet somewhat elusive position in the annals of 18th and 19th-century European art. Born in Constantinople in 1762, his life was one of remarkable transition and cultural synthesis. Orphaned at a young age, his trajectory took an unexpected turn when he was sponsored by Adam Kazimierz Czartoryski, a prominent figure of the Polish aristocracy and a dedicated patron of the arts. This act of generosity propelled the young Armenian boy westward, towards the heart of the Polish-Lithuanian Commonwealth around 1774, forever altering the course of his artistic development.

Rustemas’s formative years were spent immersed in the vibrant artistic milieu of Warsaw. He received tutelage from two of the most celebrated painters working within the royal court: Jean-Pierre Norblin de la Gourdaine, renowned for his delicate genre scenes and masterful draftsmanship, and Marcello Bacciarelli, a portraitist whose skill lay in capturing the essence of aristocratic society. These influences are readily apparent in Rustemas’s early works – a refined attention to detail, a sensitivity to light and shadow, and an ability to portray both psychological depth and social standing within his subjects. He wasn't merely absorbing technique; he was learning to navigate the complex world of patronage, courtly aesthetics, and the subtle language of visual representation.

From Warsaw to Vilnius: A Freemason’s Journey

The late 1780s saw Rustemas embark on a period of travel that broadened his intellectual and artistic horizons. Between 1788 and 1790, he ventured into Germany, where he became initiated into the world of Freemasonry. This affiliation proved significant, shaping not only his worldview but also potentially influencing the symbolism embedded within his later paintings. The tenets of Enlightenment thought – reason, liberty, and fraternity – resonated deeply with Rustemas, and these ideals would subtly permeate his artistic practice. Upon returning to the Polish-Lithuanian Commonwealth in 1790, he settled for a time in Warsaw before ultimately relocating to Vilnius.

Vilnius became the central stage of Rustemas’s career. In 1797, he began a long and fruitful association with Vilnius University, initially as an artist-in-residence and eventually ascending to the position of Professor of Painting in 1819. This appointment marked a turning point, solidifying his reputation as a leading figure in Lithuanian art education. He established a rigorous curriculum, emphasizing both technical proficiency and intellectual engagement. Rustemas wasn’t simply imparting skills; he was fostering a new generation of artists capable of contributing to the cultural landscape of the region.

A Legacy Etched in Canvas: Students and Style

Rustemas's impact extended far beyond his own artistic output, largely through the remarkable students he mentored. Among them were names that would become synonymous with Lithuanian national identity: Taras Shevchenko, the iconic Ukrainian poet and artist; Józef Oleszkiewicz, a celebrated landscape painter; Kanuty Rusiecki, known for his historical canvases; and Michał Kulesza, another prominent figure in 19th-century Lithuanian art. He instilled in them not only technical mastery but also a sense of national pride and artistic purpose.

While Rustemas continued to paint throughout his life, retiring formally in 1826 though continuing to lecture until his death near Dūkštas in Lithuania in 1835, his style evolved. His portraits, while retaining the elegance inherited from Bacciarelli, gained a greater psychological intensity and emotional depth. He also explored historical subjects, often imbued with subtle allegorical meaning. Though not widely known outside of Eastern Europe during his lifetime, Rustemas’s work represents a unique fusion of artistic traditions – Armenian sensitivity, Polish refinement, and Lithuanian national consciousness.

Historical Significance: A Bridge Between Worlds

Jonas Rustemas stands as a compelling example of an artist whose life mirrored the turbulent political and cultural landscape of his time. He navigated shifting allegiances, embraced Enlightenment ideals, and dedicated himself to fostering artistic talent within a region undergoing profound change. His legacy is not merely confined to the canvases he produced but resides in the generations of artists he inspired. He was a bridge between worlds, seamlessly blending diverse influences into a distinctive artistic voice that continues to resonate today. His story serves as a poignant reminder of the power of art to transcend boundaries and shape national identities.