Накратко
Portrait of Maria Catharina van Schuylenburch (1733-1790) (1765) е картината на Jan Augustini, която привлича най-много погледи. След това погледът се насочва към Portrait of Aletta Johanna le Leu de Wilhem (1754-1815) (1756) и Portrait of Coenraad le Leu de Wilhem (1732-1800) (1765). Сред 4 произведения на Jan Augustini в нашия каталог, тези 4 са най-известните – всяко от тях е уникален оригинал, представен с годината на създаване, музея и причината за неговата вечност.
Топ 10 картини на Jan Augustini, през погледа на галерията
Jan Augustini през годините: уникатните оригинали на всеки
Оригиналите на Jan Augustini, датирани тук, обхващат период от около десет години, от 1756 до 1765: окото ги проследява година по година.
Работи по години
Изберете година, за да разгледате оригиналите.
Portrait of Maria Catharina van Schuylenburch (1733-1790)
Още от 1765
Картини на Jan Augustini: въпроси към галерията
Кое е най-известното произведение на Jan Augustini?Разкрийте отговора
Portrait of Maria Catharina van Schuylenburch (1733-1790) (1765). Следващите са Portrait of Aletta Johanna le Leu de Wilhem (1754-1815) (1756) и Portrait of Coenraad le Leu de Wilhem (1732-1800) (1765).
На каква възраст Jan Augustini създава Portrait of Maria Catharina van Schuylenburch (1733-1790)?Разкрийте отговора
40 години: Portrait of Maria Catharina van Schuylenburch (1733-1790) е от 1765 г., а Jan Augustini е роден/а в 1725.
Колко са известните творби на Jan Augustini?Разкрийте отговора
В нашия каталог са представени 4 произведения на Jan Augustini, датирани от 1756 до 1765.
През кой период Jan Augustini създава най-известните си картини?Разкрийте отговора
В 1765: 2 от 4 произведенията на тази страница са създадени тогава, като Portrait of Maria Catharina van Schuylenburch (1733-1790) са сред тях.
Коя е най-ранната и коя е най-късната известна картина на Jan Augustini?Разкрийте отговора
На тази страница най-старата е Portrait of Aletta Johanna le Leu de Wilhem (1754-1815) (1756), а най-новата е Portrait of Maria Catharina van Schuylenburch (1733-1790) (1765).
Jan Augustini: портрет на художника
A Life in Flora and Landscape
Jan Augustini Degelenkamp lived through the shifting textures of the eighteenth-century Dutch Republic. Born in 1725, his early years were shaped by the meticulous study of nature. He began his professional life not with grand canvases, but with the delicate task of documenting flora for botanists. This precision found a home in the herbarium of Jacobus Schuurmans Stekhoven in Leiden, where he translated the fleeting details of plants into lasting records.
His training took him to The Hague, where he studied under Philip van Dijk. Under this guidance, his hand moved from the small-scale accuracy of botanical illustration toward the broader demands of landscape painting. He developed a particular skill for large-scale wall decorations, works designed to inhabit the very architecture of the buildings they adorned. Many of these expansive compositions remain in their original settings today.
The Breadth of the Brush
While his landscapes provided scale, his portraits and still lifes offered intimacy. His repertoire was varied, encompassing the roles of draftsman, portraitist, and decorative painter. He possessed a particular talent for capturing the quiet presence of subjects, as seen in his pastel work, Portrait of an Elderly Lady, created between 1750 and 1765.
His technical reach extended to the practicalities of interior design through wallpaper painting and decorative works. This versatility allowed him to move between the scientific rigor of botanical art and the more theatrical requirements of monumental wall pieces. His influence was passed down to a new generation of painters, including:
- Jacobus Luberti Augustini, his son
- Egbert van Drielst
- Hermanus Numan
- Gabriël van Rooyen
- Hendrik Tavenier
A Final Chapter
The end of his life saw the conclusion of a career defined by both scientific observation and decorative artistry. He passed away on 2 December 1773. Though he is often remembered for the large-scale decorations that once lined Dutch halls, his early work with flora remains a significant part of his contribution to the visual record of his era.

