Aktualizované október 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 14 dielov umelca Jean Delvin v našom katalógu
Stručne povedané
Najznámejším dielom umelca Jean Delvin je Self-Portrait (1876). Nájdete ho v múzeu Museum of Fine Arts Ghent (MSK) v meste Ghent. Ďalšími v zozname sú Exorcism (1880) a Cattle at the Ford (1902). V našom katalógu máme 14 diel od umelca Jean Delvin; tento sprievodca vyberá 14 najznámejších s uvedením roku, múzeí a príbehu každého diela.
Múzeum, ktoré vlastní najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Jean Delvin | Obrazy z tohto zoznamu |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 14 | Self-Portrait, Exorcism, Cattle at the Ford |
Vyberte si dekádu a pozrite si jej najvýraznejšie dielo.
Na vrchole zoznamu je Self-Portrait (1876), Museum of Fine Arts Ghent (MSK), Ghent. Hneď za ním nasledujú: Exorcism (1880) a Cattle at the Ford (1902).
23 rokov. Jean Delvin sa narodil/a v 1853 a dielo Self-Portrait pochádza z roku 1876.
Self-Portrait, Exorcism, Cattle at the Ford, Gypsy Woman with Child, The White Horse, Portrait of a Woman, Portrait of a Man, Portrait of the Artist’s Mother, The Sexton a Shrimpers at Nieuwpoort. V zozname vyššie nájdete rok vytvorenia a múzeu každého z nich.
V našom katalógu máme 14 diel od umelca Jean Delvin, datovaných od 1871 do 1915.
Väčšinu z nich nájdete v Museum of Fine Arts Ghent (MSK) (Ghent). Zoznam múzeí vyššie obsahuje podrobný prehľad.
V období 1870s, viac než v akomkoľvek inom čase: 2 z 14 diel na tejto stránke pochádza z tohto obdobia, pričom Self-Portrait z nich.
Najstaršie dielo je z The White Horse (1871); najnovšie je z Gypsy Woman with Child (1915).
Na tejto stránke môžete vidieť 14 diel v múzeu Museum of Fine Arts Ghent (MSK), Ghent, vrátane Self-Portrait, Exorcism a Cattle at the Ford.
Áno. Každý obraz na tejto stránke je dostupný ako ručne maľovaná olejná reprodukcia alebo ako tlač, v rozmeroch, ktoré vám vyhovujú. Pre objednanie stačí otvoriť stránku konkrétneho obrazu.
Jean Delvin enters the scene in 1853, born in Ghent, Belgium. His formative years are rooted in the Belgian tradition, shaped by the structured environment of the Royal Academy of Fine Arts in Ghent. Here, he begins his formal instruction under the guidance of Théodore-Joseph Canneel. The training is rigorous, establishing the technical foundation that will define his later career.
The focus shifts from Ghent to the bustling studios of Brussels. Delvin moves into the workspace of Jean Portaels, a significant step that expands his technical horizons. He is not alone in these studios; he studies alongside fellow students André Cluysenaar and Jacques de Lalaing. This period of intense study in Brussels marks a transition from local instruction to the broader professional circles of the Belgian art scene.
The Ghent Salon of 1871 marks his public debut. He moves from these early exhibitions into the professional circles of Brussels, working in the studios of Jean Portaels alongside André Cluysenaar and Jacques de Lalaing. For a significant period, his practice is tied to a shared workspace, a small garden shed used by him and Gustave Den Duyts.
A shift occurs in 1883 when he is invited to join the secessionist group Les XX. He enters this circle alongside James Ensor, Fernand Khnopff, and Théo van Rysselberghe. This membership is short-lived. By 1886, he resigns from the group. His professional affiliations continue through other circles, including La Libre Esthétique and Kunst van Heden (Art for Today) in Antwerp.
His career eventually transitions from the studio to the academy. He begins teaching at the Academy in Ghent, a position that leads to his appointment as Director between 1902 and 1913. During this tenure, he shapes the next generation of Belgian painters, including Albert Baertsoen and Frans Masereel.
Delvin finds his focus in the anatomy and movement of animals. He specializes in scenes featuring animals, with a particular emphasis on horses. This technical preoccupation extends into his broader repertoire, where he establishes himself as a successful painter of figures and portraits. His brushwork captures the specificities of both human subjects and the creatures that inhabit their environments.
The oil painting Shrimpers at Nieuwpoort, dating from about 1883, captures a specific slice of coastal life. This work reflects a realism that avoids the sensational, focusing instead on the anecdotal familiarity of the era. The piece remains part of the collection at the Museum of Fine Arts Ghent (MSK Gent). It serves as a primary example of his ability to ground his subjects in a tangible, observational reality.
