Dead Wildfowl
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
باختصار
تُعد Dead Wildfowl (1674) اللوحة الأكثر جذباً للأنظار للفنان Jacob Biltius؛ والنسخة الأصلية محفوظة في Statens Museum For Kunst، كوبنهاغن. بعد ذلك، تتجه العين إلى Dead Birds (1670) و Snip, hanging (1663). من بين 10 من أعمال Jacob Biltius في كتالوجنا، تُعد هذه 10 الأعمال هي الأكثر شهرة، حيث تُعرض كل واحدة منها كعمل أصلي فريد مع سنة إنتاجها، والمتحف الذي تضمّه، والسبب وراء خلودها.
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
المواضيع الأربعة التي تتكرر باستمرار في هذه الأعمال الأصلية، مع تقديم أروع مثال لكل منها.
المتاحف الـ 3 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال Jacob Biltius | لوحات من هذه القائمة |
|---|---|---|---|
| كوبنهاغن | 5 | Dead Wildfowl, Dead Birds, Wildfowl on a Wooden Table | |
| ليواردن | 2 | Snip, hanging, Dead Partridge, Hanging | |
| 1 | Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall |
مسيرة مهنية حافلة تمتد لـ 17 عاماً، من 1663 إلى 1679: أشهر الأعمال الأصلية لـ Jacob Biltius، معروضة عاماً تلو الآخر.
اختر سنة لعرض أعمالها الأصلية.
المزيد من 1666
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
المزيد من 1670
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
Dead Wildfowl (1674)، Statens Museum For Kunst, كوبنهاغن. ويليها Dead Birds (1670) وSnip, hanging (1663).
عمر 41 عاماً: يعود تاريخ Dead Wildfowl إلى 1674، وقد وُلد Jacob Biltius في 1633.
Dead Wildfowl, Dead Birds, Snip, hanging, Dead Partridge, Hanging, Wildfowl on a Wooden Table, A Dead Hare, A hunting still life with a partridge, a grouse, a hare and hunting paraphernalia, A still life of game and hunting acoutrements, on a stone ledge, Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall و Dead Wildfowl and a Huntsman's Net. Trompe l'oeil. يوضح التصنيف أعلاه سنة كل لوحة والمتحف التابعة له.
يضم كتالوجنا 10 من أعمال Jacob Biltius، التي يعود تاريخها من 1663 إلى 1679.
توجد غالبيتها في Statens Museum For Kunst (كوبنهاغن), Fries Museum (ليواردن) و Kunsthandel P. de Boer. يدرج جدول المتاحف أعلاه جميعها.
في 1663: تم إنجاز 2 من أصل 10 من الأعمال في هذه الصفحة خلال تلك الفترة، من بينها Snip, hanging.
في هذه الصفحة، أقدم الأعمال يعود إلى Snip, hanging (1663) وأحدثها يعود إلى Dead Wildfowl and a Huntsman's Net. Trompe l'oeil (1679).
Feathers (2) و Dark background (2)، عبر 10 من الأعمال في هذه الصفحة.
Oil On Canvas، لـ 2 من أصل 10 من الأعمال في هذه الصفحة.
Dead Wildfowl, Dead Birds و Wildfowl on a Wooden Table: يضم Statens Museum For Kunst, كوبنهاغن 5 من الأعمال المعروضة في هذه الصفحة.
Jacob Biltius was a Dutch still life painter born in The Hague. He began his artistic training in The Hague, studying under the French painter Carel Hardy around 1651, and later trained with Pieter de Putter, who was known for his fish still lifes. His career saw him active in various locations, including The Hague, Amsterdam, Maastricht, Antwerp, Leeuwarden, and Bergen op Zoom. In 1660, he was admitted to the Confrerie Pictura.
Biltius married Adriana Proot van der Jeucht in 1653, and they had eight children, including two sons, Cornelis and Bartholomeus, who both became painters. His movements took him from Amsterdam to Maastricht, and eventually to Flanders, where he settled in Antwerp. While living in Antwerp, he and his wife were members of a secret society of local Calvinists known as de Consistorie van de Brabantsche Olijfberg. He was admitted to the Antwerp Guild of St Luke in the 1672–1673 guild year. He eventually moved to Bergen op Zoom, where he died.
The work of Jacob Biltius is characterized by his focus on still life subjects. He was specifically known for his:
Between 1663 and 1677, Biltius created many trompe-l'œil compositions, acting as a pioneer in the creation of the illusion of three-dimensional objects. His works are noted for a very accurate and precise representation of nature. Some of these compositions were of a large size, which contributed to their realism and illusionistic impact.