Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 18 děl umělce Romeyn de Hooghe v našem katalogu
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Nova Totius Terrarium Orbis je obraz autora Romeyn de Hooghe, který přitahuje nejvíce pohledů. Poté se zrak přesouvá k Allegory of coinage (1689) a The City of Alkmaar Swears Allegiance to the Virgin of Holland (1694). Z 18 děl umělce Romeyn de Hooghe v našem katalogu je těchto 18 těch nejznámějších; každé z nich je unikátním originálem s uvedením roku vzniku, muzea a důvodu jeho nesmrtelnosti.
The gaze meets Nova Totius Terrarium Orbis, a work that breathes with the spirit of 17th-century cartographic art. Romeyn de Hooghe, the hand behind this intricate creation, brings a sense of vastness to the parchment. Born in Amsterdam in 1645, the artist carries the meticulous traditions of the Netherlands into every line and contour. This piece exists as a window into an era when the boundaries of the known world…
The Allegory of coinage is an oil on canvas work by the Dutch artist Romeyn de Hooghe. Created in 1689, the painting presents a grand, theatrical scene centered on a singular, powerful figure. This central woman is Moneta of Holland, the personification of money, seated in a position of authority. She acts as the focal point for a complex world of commerce and metal, receiving tributes from distant lands to…
The City of Alkmaar Swears Allegiance to the Virgin of Holland is a work by Romeyn de Hooghe, dating to about 1694. Born in Amsterdam, de Hooghe was a versatile figure of the late Dutch Baroque period. His technical expertise spanned painting, sculpture, engraving, and etching. He was also recognized as a skilled medalist and a prolific caricaturist.
Romeyn de Hooghe’s “Battle of Narva on 19 November 1700” isn't merely a depiction of a historical event; it’s a visceral plunge into the heart of conflict, a meticulously rendered tableau of chaos and consequence. Created in 1700, during the tumultuous Great Northern War, this monumental etching captures a pivotal moment – the Swedish victory against a vastly superior Russian force – with an intensity that transcends simple illustration. De…
In the delicate interplay of ink and imagination, Romeyn de Hooghe’s Map of Jerusalem serves as more than a mere geographical record; it is a window into a vanished era of spiritual and historical reverence. Created around 1700, this exquisite work transcends the boundaries of traditional cartography to offer a breathtaking panoramic view of one of the world's most storied landscapes. As the eye wanders across the canvas, it encounters…
Čtyři témata, která se v těchto originálech nejčastěji objevují, z nichž každé má svůj nejlepší příklad.
4 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Romeyn de Hooghe | Obrazy z tohoto seznamu |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 1 | Allegory of coinage |
 Stedelijk Museum |
Alkmaar | 1 | The City of Alkmaar Swears Allegiance to the Virgin of Holland |
 Státní Ermitáž |
Sankt-Petěrburg | 1 | Battle of Narva on 19 November 1700 |
 Národní knihovna Izraele |
Jeruzalém | 1 | Map of Jerusalem |
Vyberte si dekádu a prohlédněte si originál, který ji definuje.
The Allegory of coinage is an oil on canvas work by the Dutch artist Romeyn de Hooghe. Created in 1689, the painting presents a grand, theatrical scene centered on a singular, powerful figure. This central woman is Moneta of Holland, the personification of money, seated in a position of authority. She acts as the focal point for a complex world of commerce and metal, receiving tributes from distant lands to…
The City of Alkmaar Swears Allegiance to the Virgin of Holland is a work by Romeyn de Hooghe, dating to about 1694. Born in Amsterdam, de Hooghe was a versatile figure of the late Dutch Baroque period. His technical expertise spanned painting, sculpture, engraving, and etching. He was also recognized as a skilled medalist and a prolific caricaturist.
Romeyn de Hooghe’s “Battle of Narva on 19 November 1700” isn't merely a depiction of a historical event; it’s a visceral plunge into the heart of conflict, a meticulously rendered tableau of chaos and consequence. Created in 1700, during the tumultuous Great Northern War, this monumental etching captures a pivotal moment – the Swedish victory against a vastly superior Russian force – with an intensity that transcends simple illustration. De…
Nova Totius Terrarium Orbis. Následují Allegory of coinage (1689) a The City of Alkmaar Swears Allegiance to the Virgin of Holland (1694).
Nova Totius Terrarium Orbis, Allegory of coinage, The City of Alkmaar Swears Allegiance to the Virgin of Holland, Battle of Narva on 19 November 1700, Map of Jerusalem, Piction Of The Battle Of Öland, Siege Of Buda, Kommende Ramersdorf, Plan Exact Des Fortifications Du Chateau De Choczim Sur Le Niester a Statue Of Laurens Jansz. Coster. Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 18 děl umělce Romeyn de Hooghe z let 1689 až 1700.
Většinou v Rijksmuseum (Amsterdam), Stedelijk Museum (Alkmaar) a Státní Ermitáž (Sankt-Petěrburg). V tabulce muzeí výše jsou vypsány všechny.
V období 1700s: 2 z celkem 18 děl na této stránce vzniklo právě tehdy, z toho Battle of Narva on 19 November 1700 z nich.
Na této stránce je nejstarší dílo z Allegory of coinage (1689) a nejnovější z Battle of Narva on 19 November 1700 (1700).
Woman (2), Man (2) a Engraving (2) napříč 18 díly na této stránce.
Painting, u 2 z 18 děl na této stránce.
Baroque, podle originálů na této stránce.
Romeyn de Hooghe (1645-1708) stands as a monumental figure in the annals of Dutch Baroque art, recognized not merely for his artistic skill but for his unparalleled contribution to political satire and visual propaganda. Born in Amsterdam during a period marked by intense religious and political upheaval—the Eighty Years’ War against Spain continuing its grip on the Netherlands—de Hooghe emerged from humble beginnings as a skilled etcher, draughtsman, painter, sculptor, and medalist. He rapidly ascended to prominence within the artistic landscape of his time, driven by a prolific output that exceeded 3500 prints. This vast body of work cemented his legacy as arguably the first modern graphic satirist, shaping public opinion and documenting pivotal moments in Dutch history with an unflinching honesty and an inventive, often biting, artistry.
De Hooghe’s formative years instilled a meticulous attention to detail and an unwavering dedication to craft. Trained initially in classic languages—a testament to the humanist ideals prevalent during his era—his artistic inclinations soon superseded academic pursuits, propelling him toward mastering various techniques. He honed his etching skills under the tutulence of Jacob Savertijns, gaining invaluable experience in capturing nuanced tonal gradations and conveying profound emotion through intricate line work. This foundational training would prove instrumental in shaping his distinctive style, characterized by dramatic contrasts of light and dark, a hallmark that distinguishes his oeuvre from his contemporaries and allows his subjects to emerge with a startling, almost theatrical presence.
The trajectory of de Hooghe’s career intersected decisively with the escalating tensions between the Dutch Republic and France under Louis XIV. This confrontation, fueled by religious differences and territorial ambitions, provided the perfect stage for his burgeoning talent as a commentator. Recognizing the potent communicative power of visual imagery, he embraced caricature as his primary medium, transforming it into a weapon of intellectual dissent. Through his engravings, he could reach a broad audience, using sharp wit and grotesque imagery to mock the ambitions of foreign monarchs and champion the cause of Dutch sovereignty.
His work was never merely decorative; it was deeply embedded in the geopolitical struggles of the late 17th century. Whether depicting the chaos of war or the intricate details of a changing world, his hand was always present to guide the viewer's perception. His mastery extended beyond simple satire into the realm of grand historical documentation and cartography:
The historical significance of Romeyn de Hooghe lies in his ability to bridge the gap between fine art and mass communication. He was a pioneer who understood that an image could move a nation more effectively than a manifesto. By blending the technical sophistication of the Dutch Baroque—the mastery of light, the precision of the etching needle, and the depth of composition—with the subversive energy of political satire, he created a new genre of visual journalism. His work served as both a mirror to the anxieties of his age and a hammer used to shape the political landscape of the Dutch Republic.
Even today, de Hooghe’s prints remain vital historical documents. They offer more than just aesthetic beauty; they provide a window into the psyche of a people navigating the birth of modern nation-states. His ability to oscillate between the microscopic detail of a cityscape and the macroscopic drama of an international war ensures that his name remains etched in the history of art as much as it is in the history of politics. He remains a master of the line, a chronicler of truth, and a true prophet of liberty.
