Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 1 del v našem katalogu avtorja Edvard Orm
Kratek opis
Najbolj znano delo umetnika Edvard Orm je Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734). Najdete ga v muzeju National Portrait Gallery of Sweden v mestu Strängnäs. V našem katalogu imamo 1 del avtorja Edvard Orm; ta vodnik izpostavlja 1 najbolj znanih del, vključno z letom nastanka, muzejem in zgodbojo vsake slike.
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Edvard Orm | Slike iz tega seznama |
|---|---|---|---|
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker |
Vsi datirani dela umetnika Edvard Orm na tej strani so iz leta 1734. Tukaj so, razvrščena po slavi.
Izberite leto in oglej njegova dela.
Na vrhu seevlja Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker (1734).
Starosti 64 let. Edvard Orm se je rodil(a) leta 1670, njegovo/njino delo Eric Fjellström, ca 1688-1774, kronobefallningsman på Gotland, gift med Catharina Herråker pa izvira iz leta 1734.
V našem katalogu imamo 1 del avtorja Edvard Orm.
Večino njih boste našli v National Portrait Gallery of Sweden (Strängnäs). Na seznamu muzejev zgoraj je naveden celoten pregled.
Da. Vsaka slika na tej strani je na voljo kot ročno slikano oljno reprodukcijo ali tiskano kopijo v velikosti, ki vam ustreza. Za naročilo le odprite stran slike.
Edvard Orm moved through the landscapes of southern Sweden, leaving his mark on the walls of churches and the faces of local officials. Born around 1670, his life followed a path through Västergötland, Jönköping, Västervik, and eventually to Öland, where he remained until his death in 1735. He was a painter who worked in the baroque style, though he never belonged to a formal guild. His presence was felt in many places, from the shores of Gotland to the forests of Småland. He was often called a konterfejare, a term for one who paints portraits, yet his hands were equally accustomed to the heavy task of decorating church ceilings and altarpieces.
There is a certain weight to his work. His colors tend to be heavy, applied with a hand that understood the permanence required for stone and plaster. While some suggest he may have studied under David Klöcker Ehrenstrahl or David von Krafft, there is no certain proof of such a connection. He worked with what he had, adapting his skill to the needs of the people around him, from the high-ranking officials to the local clergy.
His commissions varied depending on where he settled. In the churches, he tackled large-scale religious themes that required both stamina and a sense of scale. In the private homes of the local elite, he focused on the individual. His output included:
In Hakarps kyrka, his work took on a more complex character. He spent six months on the ceiling, assisted by a man named Johan Kinnerus. The scenes there—paradise, the resurrection, and the final judgment—were meant to be seen from below, filling the space with a sense of the divine. Some say the animals in the paradise scenes were the work of his son, Gabriel.
The traces of his life are held in various collections, including the Nationalmuseum and the Kalmar läns museum. His paintings survived even when the buildings they inhabited did not; the church in Gränna, for instance, was lost to a fire in 1889. What remains are the records of a man who painted the reality of his time, capturing the likenesses of priests and their wives, and the heavy, solemn scenes of faith that defined the era. He died in Algutsrum, leaving behind a body of work that reflects the steady, provincial life of 18th-century Sweden.
