Actualizat Octombrie 2026 · clasat în funcție de scorul nostru de popularitate (căutări, vizite și comenzi pentru fiecare operă) · 21 lucrări ale lui Georg David Matthieu în catalogul nostru
Pe scurt
Dacă cunoașteți o pictură a lui Georg David Matthieu, este probabil Portrait of Charlotte of Mecklenburg-Strelitz (1762), care este expusă la National Portrait Gallery of Sweden, Strängnäs. Joachim Ulrich Giese (1762) și Portrait of a man in armour completează cele trei piese pe care oamenii le recunosc imediat. Catalogul nostru conține 21 lucrări ale lui Georg David Matthieu. Mai jos sunt cele 19 opere cele mai cunoscute, fiecare cu anul creării, locul unde poate fi găsită și trăsăturile care o fac specială.
To gaze upon this portrait of Joachim Ulrich Giese is to step directly into the gilded salons of 18th-century Berlin. Painted in 1762 by Georg David Matthieu, the work transcends a mere likeness; it is a carefully constructed tableau of intellectual refinement and aristocratic grace. The very air surrounding the subject seems imbued with the delicate exuberance characteristic of the Rococo period. Everything about the composition whispers of an era…
Georg David Matthieu’s “The Wife of Joachim Ulrich Giese,” painted in 1762, is more than just a portrait; it's a meticulously crafted tableau of Rococo elegance and subtle psychological depth. Created during the height of Matthieu’s career – a period marked by his association with influential figures like Jakob Philipp Hackert and his service as court painter for the Duke of Mecklenburg – this work offers a captivating glimpse into…
Cele patru teme care apar cel mai des în aceste lucrări, fiecare cu cel mai cunoscut exemplu al său.
Cele 3 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Georg David Matthieu | Picturi din această listă |
|---|---|---|---|
 Muzeele Statale din Berlin |
Berlin | 2 | Joachim Ulrich Giese, The Wife of Joachim Ulrich Giese |
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Portrait of Charlotte of Mecklenburg-Strelitz |
 Muzeul Național din Varșovia |
Varșovia | 1 | Portrait of a man in armour |
Fiecare piesă datată a lui Georg David Matthieu de pe această pagină provine dintr-un singur an, 1762. Iată-le.
Alege un an pentru a vedea lucrările sale.
Mai multe de la 1762
În topul listei se află Portrait of Charlotte of Mecklenburg-Strelitz (1762), National Portrait Gallery of Sweden, Strängnäs. Imediat după aceasta: Joachim Ulrich Giese (1762) și Portrait of a man in armour.
25 ani. Georg David Matthieu s-a născut în 1737, iar Portrait of Charlotte of Mecklenburg-Strelitz datează din 1762.
Portrait of Charlotte of Mecklenburg-Strelitz, Joachim Ulrich Giese, Portrait of a man in armour, Portrait of Amelie of Mecklenburg-Schwerin, The Wife of Joachim Ulrich Giese, Friedrich der Fromme, Portrait of Grand-duke Friedrich Franz I of Mecklenburg-Schwerin and his tutor, Portrait of duchess Ulrike Sophie of Mecklenburg, Louise Friderike of Württemberg și Portrait johann carl dähnert. Veți găsi anul și muzeul fiecăruia în lista de mai sus.
În catalogul nostru avem 21 lucrări ale lui Georg David Matthieu.
Le vei găsi pe majoritatea în Muzeele Statale din Berlin (Berlin), National Portrait Gallery of Sweden (Strängnäs) și Muzeul Național din Varșovia (Varșovia). Lista muzeelor de mai sus oferă detalierea completă.
În 1762, mai mult decât în orice altă perioadă: 3 dintre cele 19 piese de pe această pagină datează de atunci, Portrait of Charlotte of Mecklenburg-Strelitz dintre acestea.
Portraits (6), Royalty (4) și Portraiture (2), din un total de 19 piese de pe această pagină.
Oil On Canvas, utilizat în 2 dintre cele 19 piese de pe această pagină.
Rococo, așa cum puteți observa în piesele de pe această pagină.
Pe această pagină poți vedea 2 dintre piesele din cadrul Muzeele Statale din Berlin, Berlin, inclusiv Joachim Ulrich Giese și The Wife of Joachim Ulrich Giese.
Da. Fiecare pictură de pe această pagină este disponibilă ca reproducere pictată manual în ulei sau ca print, în dimensiunea care vă conveni. Accesați pagina picturii pentru a comanda.
Berlin, 1737. The air in the studio of David Matthieu carries the scent of oil and pigment, a workspace where Georg David Matthieu begins his life within a family of established artists. He does not merely observe the craft; he breathes it through a lineage that connects him to the Prussian court. His father, David, holds the position of court painter in Prussia, providing a foundation of technical rigor. This connection extends through his stepmother, Anna Rosina, linking Georg to the influential Georg Lisiewski and the talented Anna Dorothea Therbusch.
The training is intimate and rigorous. He learns the precision required for engraving and the delicate touch needed for portraiture under his father's direct gaze. This early immersion in the mechanics of light and shadow prepares him for a life defined by the demands of the aristocracy. His path is not one of solitary wandering but of professional continuity, moving through the established circles of German and Swedish nobility.
A shift occurs in 1764. Following his work on a portrait of Queen Sophie Charlotte, Georg David Matthieu secures a position that alters his social and professional standing: court painter to the Duke of Mecklenburg-Schwerin. He moves into an apartment within the newly built Ludwigslust Palace. The transition from a student of the Prussian tradition to a resident of the ducal court brings a new set of responsibilities and a specific aesthetic demand.
Life at the court follows a strict hierarchy. As a painter ranked 20th out of 24, his existence is governed by the system established by Duke Friedrich William. His compensation is fixed—250 Reichstalers annually, supplemented by free food and housing for his family. He spends his days documenting the ducal family and their relatives, capturing the physical presence of the Mecklenburg-Schwerin line. The work is constant. He is on call, tasked with projecting the dignity of the house through the Rococo style.
The portraits produced during this period focus on the material reality of the 18th-century elite. In works such as the portrait of Joachim Ulrich Giese, the emphasis lies on texture and social signifiers. A red velvet coat is rendered with a weight that contrasts against white lace cuffs. The light does not merely illuminate; it sculpts figures from the surrounding darkness, providing a sense of three-dimensionality to the subjects.
Matthieu utilizes specific elements to communicate status:
His friendship with Jakob Philipp Hackert likely brings broader European influences into his practice, particularly through shared study trips to Italy. This exposure refines his ability to handle color schemes and the delicate exuberance of the Rococo period. Even in smaller works, such as his drawings in black and red chalk or blue pastel, the precision of his hand remains evident. He dies in 1778, leaving behind a body of work that remains housed in the collections of the Staatliches Museum Schwerin, the Gemäldegalerie Berlin, and The Metropolitan Museum of Art.
