Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 49 děl umělce Matthias Stom v našem katalogu
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Z všech originálů, které Matthias Stom zanechal, je nejslavnější Boy lighting a candle from a wick (1640), který se nachází ve sbírce Accademia Carrara, Bergamo. Hned za ním následují Samson taken by the Philistines (1645) a The Calling of Saint Matthew (1629). Náš katalog obsahuje 49 děl umělce Matthias Stom; galerie si zachovala 49 děl, která obdivuje celý svět, přičemž každé je znázorněno s datem vzniku, názevem muzea a jeho příběhem.
A single flame flickers between trembling fingers. The boy leans into the heat, his face caught in a sudden, sharp illumination that carves his features out of the surrounding gloom. He wears a dark jacket and a red cap adorned with tassels, the fabric heavy and real in the dim light. His brow is furrowed with the quiet intensity of a task that requires absolute stillness. The candle is small,…
In this dramatic oil painting from 1645, we find ourselves witnessing a moment of profound vulnerability. The scene captures the biblical figure of Samson at the precise instant of his downfall, surrounded by the Philistine soldiers who have come to claim him. There is a heavy, nocturnal tension here, as if the air itself has thickened with the suddenness of his capture. Samson reclines, his muscular anatomy rendered with a…
The Calling of Saint Matthew is an oil on canvas painting by Matthias Stom. Created in the Netherlands around 1629, this work captures a moment of profound spiritual transition. The scene focuses on the figure of Matthew the Apostle, formerly known as Levi, as he is confronted by a divine summons. Stom’s approach to this biblical narrative reflects the dramatic intensity of the Caravaggesque style, emphasizing the suddenness of the…
A single flame flickers in the heavy darkness, casting a sudden, warm glow upon the face of a soldier. He leans forward, his body angled toward the small, dancing light as he prepares to ignite a candle. The scene is intimate and hushed, as if the viewer has stumbled upon a private ritual in the dead of night. Deep, ink-black shadows swallow the background, leaving only the essential details of…
In this intense scene, Matthias Stom captures a moment of profound tension as Christ is presented to the crowd. The figure of Christ appears bound, his head bowed under the weight of a crown of thorns. He stands at the center of a dramatic confrontation, caught in the harsh, flickering light of a torch. This singular light source carves his form out of the surrounding shadows, highlighting the physical reality…
The Elder with a Candle is a work by Matthias Stom, dating to 1640. This oil on canvas piece presents a portraiture of an old woman. It is a religious painting that captures a single, quiet moment of existence.
St Jerome1635 · Centraal Museum
12
Cavalry and Infantry Skirmish1632 · Statens Museum for Kunst
13
music - lesson1625
14
Christ in the garden of olives at Gethsemane1631 · Gemäldegalerie
15
Old Woman And A Boy By Candlelight1640 · Birmingham Museum and Art Gallery
16
The Adoration of the Magi1645 · Musée des Beaux-Arts de Rouen
17
The Arrest of Christ1641 · National Gallery of Ireland
18
Christ among the docters1642 · Bavarské státní sbírky malby
19
Stellio mocking Ceres because she drinks too avidly (Metamorphosis V:446-461)1642 · Bavarské státní sbírky malby
20
Holy Family1640 · Museu Nacional d'Art de Catalunya
21
Sara, Abraham and Hagar1645 · Gothenburg Museum of Art
22
Esau, returning hungry from the hunt, sells his first birthright to Jacob for a pottage of lentils(Genesis 25:31)1643 · Gemäldegalerie
23
Saint Peter in prayer1636 · Národní muzeum ve Varšavě
24
An old woman with a book and an incense burner by candlelight1645 · Staatliche Kunsthalle Karlsruhe
25
Sacrifice of Isaac1650 · Musée Fesch
26
Դրամափոխը1650 · Národní galerie Arménie
27
The Mocking of Christ1650 · Schorr Collection
28
The Adoration of the Magi1630 · Nationalmuseum
29
The Annunciation1631 · Kunsthistorisches Museum
30
Mucius Scaevola in the presence of Lars Porsenna1640 · Art Gallery of New South Wales
31
An Old Woman and a Youth by Lamplight1632 · Statens Museum for Kunst
32
L'avariceMusée de Grenoble
33
ISAAC BENISSANT JACOBLouvre
34
SAINT JEAN EVANGELISTE
35
SAINT MARC
36
Sarah amenant Agar à AbrahamMusée Condé
37
PILATE SE LAVANT LES MAINSLouvre
38
SAINT AMBROISE
39
Supper at Emmaus1635 · Musée de Grenoble
40
Isaac Blessing Jacob1635 · Barber Institute of Fine Arts
41
Salome with the Head of Saint John the Baptist1650 · Musei di Strada Nuova
42
King David1635 · Musée des Beaux-Arts de Marseille
43
The Judgement of Solomon1640 · Currier Gallery of Art
44
The Judgment of Solomon1640 · Muzeum umění Houston
45
Salome receiving the Head of John the Baptist1631 · National Gallery
46
Man Blowing on an EmberGalleria Regionale di Palazzo Abatellis
47
The Supper at Emmaus1635 · Thyssen-Bornemisza Museum
48
Saint Jerome1635 · Musée d'Arts de Nantes
49
Adoration des MagesMusée des Augustins
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 Matthias Stom | Obrazy z tohoto seznamu |
|---|---|---|---|
 Bavarské státní sbírky malby |
Mnichov | 3 | The martyrdom of Saint Sebastian, Christ among the docters, Stellio mocking Ceres because she drinks too avidly (Metamorphosis V:446-461) |
 Národní muzeum ve Varšavě |
Varšava | 2 | Soldier lighting a candle., Saint Peter in prayer |
 Statens Museum for Kunst |
Kodaň | 2 | Cavalry and Infantry Skirmish, An Old Woman and a Youth by Lamplight |
 Gemäldegalerie |
Berlín | 2 | Christ in the garden of olives at Gethsemane, Esau, returning hungry from the hunt, sells his first birthright to Jacob for a pottage of lentils(Genesis 25:31) |
 Musée de Grenoble |
Grenoble | 2 | L'avarice, Supper at Emmaus |
 Louvre |
Paříž | 2 | ISAAC BENISSANT JACOB, PILATE SE LAVANT LES MAINS |
 Accademia Carrara |
Bergamo | 1 | Boy lighting a candle from a wick |
 Galleria Sabauda |
Turín | 1 | Samson taken by the Philistines |
Vyberte si dekádu a prohlédněte si originál, který ji definuje.
The Calling of Saint Matthew is an oil on canvas painting by Matthias Stom. Created in the Netherlands around 1629, this work captures a moment of profound spiritual transition. The scene focuses on the figure of Matthew the Apostle, formerly known as Levi, as he is confronted by a divine summons. Stom’s approach to this biblical narrative reflects the dramatic intensity of the Caravaggesque style, emphasizing the suddenness of the…
A single flame flickers in the heavy darkness, casting a sudden, warm glow upon the face of a soldier. He leans forward, his body angled toward the small, dancing light as he prepares to ignite a candle. The scene is intimate and hushed, as if the viewer has stumbled upon a private ritual in the dead of night. Deep, ink-black shadows swallow the background, leaving only the essential details of…
A single flame flickers between trembling fingers. The boy leans into the heat, his face caught in a sudden, sharp illumination that carves his features out of the surrounding gloom. He wears a dark jacket and a red cap adorned with tassels, the fabric heavy and real in the dim light. His brow is furrowed with the quiet intensity of a task that requires absolute stillness. The candle is small,…
In this intense scene, Matthias Stom captures a moment of profound tension as Christ is presented to the crowd. The figure of Christ appears bound, his head bowed under the weight of a crown of thorns. He stands at the center of a dramatic confrontation, caught in the harsh, flickering light of a torch. This singular light source carves his form out of the surrounding shadows, highlighting the physical reality…
Boy lighting a candle from a wick (1640), Accademia Carrara, Bergamo. Následují Samson taken by the Philistines (1645) a The Calling of Saint Matthew (1629).
40 let: dílo Boy lighting a candle from a wick pochází z roku 1640 a Matthias Stom se narodil/a v roce 1600.
Boy lighting a candle from a wick, Samson taken by the Philistines, The Calling of Saint Matthew, Soldier lighting a candle., Ecce Homo, The Elder with a Candle, Christ at the Column, Healing of blind Tobias, Lot Leaving Sodom a The martyrdom of Saint Sebastian. Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 49 děl umělce Matthias Stom z let 1625 až 1650.
Většinou v Bavarské státní sbírky malby (Mnichov), Národní muzeum ve Varšavě (Varšava) a Statens Museum for Kunst (Kodaň). V tabulce muzeí výše jsou vypsány všechny.
V období 1630s: 18 z celkem 49 děl na této stránce vzniklo právě tehdy, z toho Soldier lighting a candle. z nich.
Na této stránce je nejstarší dílo z music - lesson (1625) a nejnovější z Ecce Homo (1650).
Woman (7), Man (5) a Candle (4) napříč 49 díly na této stránce.
Oil On Canvas, u 13 z 49 děl na této stránce.
Baroque, podle originálů na této stránce.
The martyrdom of Saint Sebastian, Christ among the docters a Stellio mocking Ceres because she drinks too avidly (Metamorphosis V:446-461): muzeum Bavarské státní sbírky malby, Mnichov má v obsluze 3 děl z této stránky.
The name Stomer Mathias, a figure shrouded in the mists of 17th-century art history, represents a fascinating convergence of Dutch artistic training and Italian Caravaggesque influence. Born around 1600, likely in Amersfoort, Netherlands – though definitive proof remains elusive – Mathias’s life was one dedicated to mastering and adapting the dramatic style pioneered by Michelangelo Merisi da Caravaggio. He wasn't a household name during his lifetime, often overshadowed by more prominent contemporaries, yet his output of approximately 200 paintings offers a compelling glimpse into a pivotal period in European art.
Early accounts suggest Mathias received his initial artistic education within the Utrecht Mannerist tradition, possibly under the tutelage of Abraham Bloemaert and Joachim Wtewael – artists known for their meticulous detail and refined compositions. However, it was his exposure to Gerard van Honthorst’s work, a key follower of Caravaggio who had spent considerable time in Rome, that truly shaped Mathias's artistic trajectory. Van Honthorst brought the intensity, dramatic lighting, and emotional directness of Caravaggio to Utrecht, creating a ripple effect throughout the Dutch art scene.
Around 1630, Mathias embarked on a journey south, settling in Rome. This marked a crucial turning point in his artistic development. He immersed himself in the vibrant Roman art world, absorbing not only the legacy of Caravaggio but also the work of other influential Caravaggesque painters like Jusepe de Ribera and Peter Paul Rubens. Unlike many of his Northern counterparts who favored genre scenes filled with humor and satire, Mathias leaned heavily into the religious narratives that defined Caravaggio’s oeuvre. His paintings frequently depicted biblical stories – particularly those relating to the Passion of Christ – imbued with a palpable sense of drama, emotion, and stark realism.
His time in Naples (1631-1640) proved particularly formative. The influence of Ribera's tenebrism—the dramatic contrast between light and shadow—became deeply ingrained in Mathias’s style. He produced a series of powerful works for the Capuchin Church of Sant’Efemo Nuovo, showcasing his ability to render human figures with remarkable anatomical accuracy and emotional depth. These paintings, tragically lost during the church's conversion into a prison, remain among his most celebrated achievements.
Following his period in Naples, Mathias relocated to Sicily around 1640, where he continued to paint for various churches throughout the island – Palermo, Messina, and Monreale. His Sicilian works demonstrate a refined adaptation of the Caravaggesque style, incorporating local color palettes and architectural settings. The “Saint Isidore Agricola” (1641), now housed in the Caccamo Cathedral, stands as a testament to his skill and represents one of the few securely dated paintings attributed to him. This painting exemplifies Mathias’s ability to capture the solemnity and spiritual intensity characteristic of Caravaggio's religious scenes.
Despite producing a substantial body of work, Mathias remained largely forgotten for centuries after his death, likely due to the influence of other artists working in the style of Caravaggio. His paintings were frequently misattributed, obscuring their true origins. However, beginning in the early 20th century, scholars began to reassess his contribution to European art history, recognizing the unique qualities of his work and its significance within the broader context of the Caravaggesque movement. Mathias’s legacy lies not only in the beauty of his paintings but also as a bridge between Northern and Southern artistic traditions – a testament to the dynamic exchange of ideas that characterized 17th-century Europe.
Today, Mathias's paintings are housed primarily in institutions like the Prado Museum in Madrid and the Art UK collection, offering art enthusiasts a chance to appreciate the artistry of this often-overlooked Caravaggist master. His story serves as a reminder that even artists who fade from immediate recognition can ultimately leave a lasting impact on the course of art history.
