Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 86 děl umělce Jan Baptist Weenix v našem katalogu
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Z všech originálů, které Jan Baptist Weenix zanechal, je nejslavnější Tobit, asleep under a vine, is blinded (1642), který se nachází ve sbírce Museum Boijmans Van Beuningen, Rotterdam. Hned za ním následují Italian landscape with shelter and antiques ruins (1658) a Still Life with a Dead Swan (1651). Náš katalog obsahuje 86 děl umělce Jan Baptist Weenix; galerie si zachovala 78 děl, která obdivuje celý svět, přičemž každé je znázorněno s datem vzniku, názevem muzea a jeho příběhem.
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
The air feels heavy with the scent of damp stone and the rhythmic, metallic scrape of steel against stone. Under a vast, expansive sky, a group of figures gathers within the skeletal remains of a classical ruin. A man leans into his work, operating a grinding wheel that cuts through the quietude of the scene. Beside him, a woman sits in repose, while a small child stands close by, watching…
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
The composition relies on strong vertical elements, primarily through imposing columns and a central, highly ornate pedestal topped with a large urn. These structures anchor the scene, providing a sense of scale against the scattered human figures in the foreground and middle ground. Through a use of deep recession, the perspective draws the eye past a colonnade toward a distant, hazy horizon where the masts of ships are visible.
The scene unfolds in 1648, a moment captured in the oil on canvas known as Harbour with Antique Ruins. This work belongs to the hand of Jan Baptist Weenix, an artist who brings the weight of history into a living, breathing maritime setting. The painting presents a world where the weathered stone of classical antiquity meets the constant, rhythmic movement of a working harbor. It is a vision of a…
In "The Angel Raphael Leaving Tobias's Family" by Jan Baptist Weenix, a divine departure unfolds with sudden, celestial energy. The scene captures the exact moment the Angel Raphael ascends toward the heavens, leaving the family below in a state of profound awe and reverence. A powerful diagonal movement pulls the eye from the lower left foreground upward toward the upper left, where the angelic figure climbs into a swirling formation…
vegetable-sellers at the house-door, 5 figures1646
12
caravane near the shore1646
13
Mother and Child1647
14
Circumcision of Moses' son1640 · Národní muzeum ve Varšavě
15
Still Life with Game, Hunter and Two Dogs1652 · Bavarské státní sbírky malby
16
Butterfly Dog and Dead Bird1649 · Museum Mayer van den Bergh
17
Pleasure boating1650
18
The Sleeping Shepherdess1658 · National Gallery of Ireland
19
Roman Tinker1656 · Städel Museum
20
The love letter1650 · Národní muzeum umění, architektury a designu
21
Italian Harbour1651 · Státní Ermitáž
22
Italian Peasants among Ruins1650 · Detroit Institute of Arts
23
Sleeping girl1656 · Bavarské státní sbírky malby
24
Rest on the Flight into Egypt1657 · Museum Boijmans Van Beuningen
25
Merry Company on a Ferry1649 · Museum Gouda
26
Battle at the foot of the mountain.1650 · Národní muzeum ve Varšavě
27
Christina Lepper de Kempenaer and Her Children1653
28
Italian port scene, 16491649 · Centraal Museum
29
Italian Landscape with Horsemen by a Spring1657 · Centraal Museum
30
Before the walls of Rome1650 · National Museum in Wrocław
31
Portrait of a man with a letter1650 · Agnes Etherington Art Center
32
A Landscape with a Ford1660 · Oblastní galerie v Liberci
33
In the Campagna1669 · National Gallery of Ireland
34
Dead Fowl Being Eaten by a Cat1653 · Städel Museum
35
Departure of an Oriental Entourage1647 · Louvre
36
Display of Dead Game1641 · Petit Palais
37
Dead Game1641
38
River Landscape with a Ferry1650 · Montreal Museum of Fine Arts
39
Still Life with Dead Game and Poultry1656 · Centraal Museum
40
Still Life with Fowl1650 · Museum of Fine Arts Ghent (MSK)
41
Marine with a Venetian Bucintoro1650 · Staatliche Kunsthalle Karlsruhe
42
The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 16591659 · Rijksmuseum
43
After the Hunt, Jan Baptist Weenix, c. 16561656 · Rijksmuseum
44
Still Life with White Mouse1680 · Galéria umenia Ernesta Zmetáka v Nových Zámkoch
45
Still Life with GameHarvard Art Museums
46
The Ford in the River1647 · Státní Ermitáž
47
Harbor View with Rider in Oriental Dress,Groninger Museum
48
The Holy Women at the TombNational Gallery of Ireland
49
An Italian SeaportKrálovské muzeum výtvarného umění Antverpy
50
Architectural interior with foreign shippers, ruins and a shipyard beyond
51
Study of a sheep
52
A pig's carcase
53
The Tinker and His Dog
54
Landscape with Peasants and Animals
55
Dead Partridge1650 · Mauritshuis
56
Goat Lying Down, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
57
A Dog and a Cat near a partially disembowelled Deer, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
58
Still Life with Dead Poultry, Lidded Pitcher and PassglasBavarské státní sbírky malby
59
Game-pieceNational Gallery of Ireland
60
Dead game and hunting tackle in landscape
61
Hound with a Joint of Meat and a Cat Looking on
62
Bouquet of flowersGemäldegalerie
63
Shipping in Harbour
64
Herons and Lapwings
65
Still Life of Dead Game in a Landscape with a Huntsman
66
An italian port scene
67
Shepherds and Flocks among Classical Ruins
68
A Coast Scene with Classical RuinsWallace Collection
69
Still Life with Dead Game
70
Hounds and an Owl with Dead Birds and Sculptures in a Landscape
71
Still Life with Dead Birds
72
Family in a Mediterranean Seaport
73
Figures near a SeaportScottish National Gallery
74
A Huntsman cutting up a Dead Deer, with Two DeerhoundsNational Gallery
75
Ancient RuinsSzépművészeti Múzeum
76
Figures among ruinsThe Kremer Collection
77
Ancient Ruins (detail)Szépművészeti Múzeum
78
Girl as Shepherdess1650 · Musée de Picardie
Čtyři témata, která se v těchto originálech nejčastěji objevují, z nichž každé má svůj nejlepší příklad.
8 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Jan Baptist Weenix | Obrazy z tohoto seznamu |
|---|---|---|---|
 Bavarské státní sbírky malby |
Mnichov | 4 | The Scissors Grinder, Still Life with Game, Hunter and Two Dogs, Sleeping girl |
 Centraal Museum |
Utrecht | 4 | Portrait of René Descartes, Italian port scene, 1649, Italian Landscape with Horsemen by a Spring |
 National Gallery of Ireland |
Dublin | 4 | The Sleeping Shepherdess, In the Campagna, The Holy Women at the Tomb |
 Rijksmuseum |
Amsterdam | 4 | The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, After the Hunt, Jan Baptist Weenix, c. 1656, Goat Lying Down, Jan Baptist Weenix, 1645 - 1660 |
 Museum Boijmans Van Beuningen |
Rotterdam | 2 | Tobit, asleep under a vine, is blinded, Rest on the Flight into Egypt |
 Mauritshuis |
Haag | 2 | Italian landscape with shelter and antiques ruins, Dead Partridge |
 Detroit Institute of Arts |
Detroit | 2 | Still Life with a Dead Swan, Italian Peasants among Ruins |
 Nationalmuseum |
Stockholm | 2 | Harbour with Antique Ruins, The Angel Raphael Leaving Tobias's Family |
Od 1640 do 1659, Jan Baptist Weenix tvořil po dobu 20 let: tato výběrová kolekce sleduje tuto dlouhou kariéru rok po roce prostřednictvím jeho nejlepších originálů.
Vyberte rok a prohlédněte si originály.
The composition is defined by a sharp diagonal movement, tracing a path from the upper left toward a figure positioned on the ground. A descending figure, draped in billowing white and cream fabric, moves through a dark, receding background. Below, a man dressed in red reaches upward with outstretched arms. The scene is rendered in oil on canvas, utilizing a palette of deep browns, ochres, and umbers. Light emanates from…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
Více od 1641
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on canvas titled vegetable-sellers at the house-door, 5 figures was painted by Jan Baptist Weenix. This work dates to about 1646. It captures a quiet moment of human gathering near a stone threshold.
Více od 1646
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
Více od 1647
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
Více od 1648
Butterfly Dog and Dead Bird is a painting by Jan Baptist Weenix. Created about 1649, the work captures a quiet moment of mortality. The artist, Jan Baptist Weenix, was born in 1621 near the harbor of Amsterdam. He was the son of an architect, a lineage that perhaps informed his sense of structure and form.
Více od 1649
The scene unfolds in Pleasure boating, a work by the Dutch Golden Age painter Jan Baptist Weenix. Born in 1621, the artist brings a sense of life to this maritime setting. The composition captures a moment of leisure near a shoreline, where figures gather around a small boat. In the distance, a large tower and architectural ruins rise against the horizon, grounding the activity in a landscape that feels both…
Více od 1650
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
Více od 1651
The air feels heavy with the scent of damp earth and the metallic tang of the hunt. In this somber, Baroque-style scene, a sudden stillness has fallen over the landscape, leaving only the echoes of a recent chase. A large white bird, perhaps a swan or a goose, lies at the center of the composition, its wings spread wide in a final, frozen gesture of flight. The pale plumage catches…
The scene unfolds through the oil on canvas of Christina Lepper de Kempenaer and Her Children, a work that captures a quiet moment of familial presence. Jan Baptist Weenix brings this group to life, anchoring the figures within a structured space that feels both intimate and grand. The painting measures 93.4 x 121.3 cm, a scale that allows the viewer to feel the proximity of the subjects and the weight…
In "Roman Tinker" by Jan Baptist Weenix, a solitary figure occupies a rustic, outdoor setting that feels suspended in a quiet moment. The composition follows an asymmetrical arrangement, drawing the eye away from the immediate foreground toward a sprawling landscape. A young man, identified as a tinker, sits in the lower right foreground, his presence anchoring the scene. Near him, various pots rest upon the uneven ground, suggesting a life…
Více od 1656
A serene and pastoral scene unfolds within a Baroque landscape, capturing a moment of respite during a period of travel. A woman sits amidst the undulating hills, cradling an infant in her arms, while a man mounted on a donkey waits nearby. The composition is anchored by a large, dark, textured tree on the left, which frames the central figures and directs the eye toward the receding landscape. Sheep and…
Více od 1657
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
Více od 1658
In The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, the artist Jan Baptist Weenix captures a moment of diplomatic transit. The scene focuses on Ambassador Joan Cunaeus and his secretary Cornelis Speelman. They move through a courtyard, part of a larger mission to stimulate trade in silk and horses within Persia. The air of the meeting feels heavy with the weight of commerce and…
Tobit, asleep under a vine, is blinded (1642), Museum Boijmans Van Beuningen, Rotterdam. Následují Italian landscape with shelter and antiques ruins (1658) a Still Life with a Dead Swan (1651).
21 let: dílo Tobit, asleep under a vine, is blinded pochází z roku 1642 a Jan Baptist Weenix se narodil/a v roce 1621.
Tobit, asleep under a vine, is blinded, Italian landscape with shelter and antiques ruins, Still Life with a Dead Swan, Tobit Sleeping Under the Vine, The Scissors Grinder, Hunters Near Ruins, Portrait of René Descartes, Monument at a Harbour, Harbour with Antique Ruins a The Angel Raphael Leaving Tobias's Family. Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 86 děl umělce Jan Baptist Weenix z let 1640 až 1659.
Většinou v Bavarské státní sbírky malby (Mnichov), Centraal Museum (Utrecht) a National Gallery of Ireland (Dublin). V tabulce muzeí výše jsou vypsány všechny.
V období 1650: 11 z celkem 78 děl na této stránce vzniklo právě tehdy, z toho Pleasure boating z nich.
Na této stránce je nejstarší dílo z Circumcision of Moses' son (1640) a nejnovější z The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659 (1659).
Landscape (18), Ruins (17) a Sky (13) napříč 78 díly na této stránce.
Oil On Canvas, u 30 z 78 děl na této stránce.
Dutch golden age a Baroque, podle originálů na této stránce.
The Scissors Grinder, Still Life with Game, Hunter and Two Dogs a Sleeping girl: muzeum Bavarské státní sbírky malby, Mnichov má v obsluze 4 děl z této stránky.
Jan Baptist Weenix představuje singularní postavu holandského zlatého věku, oslavovanou pro své nezaměnitelné spojení precizní pozorovatelnosti a představivivé vize. Ačkoliv bylo jeho umělecké dílo ve srovnání se sousedy jako Rembrandt či Vermeer relativně skromné, Weenixův přínos do historie nizozemského umění je nepopiratelný – zejména díky jeho průkopnickému zkoumání italských krajin protkaných lidskými postavami, čímž vytvořil stylistický precedens, který rezonoval v následujících generacích. Narodil se v roce 1621 v Amsterdamu poblíž rušného přístavu a pocházel z rodiny architektů, což je linie, která pravděpodobně formovala jeho raná léta uprostřed intelektuálního i strukturálního fermentu tehdejší doby.
Navzdory osobním překážkám – historické záznamy naznačují, že kvůli zdravotnímu stavu měl potíže s řečí – Weenix disponoval vášnivým zájmem o literaturu a umění, který v něm podpořila matka, jež pro něj aktivně zajistila učení u Jana Mickera, zetě Rembrandta. Toto rané vzdělávání v něm zakořenilo disciplinovaný přístup k kresbě a pozorování, který se stal trvalou známkou jeho díla. Svá schopnosti dále zdokonaloval v Utrechtu pod vedením Abrahama Bloemaerta a následně se vrátil do Amsterdamu, aby studoval u Claes Cornelizoona Moeyaerta, čímž upevnil své základy v rámci tehdejších převládajících uměleckých proudů Nizozemí.
Trajektorie Weenixovy kariéry byla hluboce změněna jeho cestováním, zřejmě nejvýrazněji jeho quite do Říma v roce 1643 společně s Nicolaesem Pieterszoon Berchemem. Tato expedice mu umožnila setkat se s živým intelektuálním a uměleckým prostředím cechu Bentvueghels, což byla zkušenost, která ho posunula k mnohem širší stylistické rozmanitosti. V Římě přijal italský styl, charakterizovaný teplým, zlatavým světlem a klasickými krajinami, které nádherně kontrastovaly s chladnějšími a temnějšími tóny tradičního holandského malířství. Toto období římského vlivu mu umožnilo ovládnout umění „italské krajiny“, kde byla syrová krása jižní Evropy přetvářena skrze severoevropskou optiku.
Jeho dílo z této éry často propojovalo velkolepost klasických scén s intimními lidskými prvky. Ať už zachycoval přístavní scény, které šeptaly o námořním obchodu, nebo rozlehlé výhledy vyvolávající pocit nadčasovosti, Weenix disponoval jedinečným darem zachytit atmosféru místa. Jeho mistrovství se však neomezovalo pouze na nekonečné obzory; byl stejně zdatný v zachycování tiché, často až hmatatelné reality života prostřednictvím svých still životů. Jeho zobrazení zvěře a zvířat byla poznamenána překvapivým realismem, kde každá textura – od hrubé srsti loveckého psa až po jemný lesk peří – byla vykreslena s dechbernou přesností.
Význam Jana Baptista Weenixe spočívá v jeho schopnosti překlenout propast mezi syrovým realismem holandské tradice a idealizovanou krásou italského hnutí. Jeho všestrannost mu umožnila pohybovat se mezi rozmanitými tématy, od dramatického napětí nalezeného v dílech jako Po lovu až po tichou, téměř melancholickou intenzitu jeho zvířecích studií. Skrze jeho štětec je divák pozván do světa, kde se hranice mezi pozorovaným přírodním světem a představovanou klasickou minulostí nádherně rozmazávají.
Při pohledu na jeho život a dílo definuje jeho trvalou důležitost několik klíčových prvků:
Ačkoliv byl jeho život relativně krátký a skončil v roce 1661, otisk zanechaný Janem Baptistem Weenixem zůstává viditelný v evoluci malování krajiny. Naučil budoucí generace, jak se na horizont nedívat pouze jako na hranici, ale jako na plátno pro světlo, historii a lidské emoce.
