Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 41 værker af Caesar Van Everdingen i vores katalog
Kort sagt
Woman praying (1650) er det maleri af Caesar Van Everdingen, der vækker mest opsigt; originalen findes på Rijksmuseum, Amsterdam. Derefter falder blikket på Jupiter and Callisto (1655) og Winter (1646). Blandt de 41 værker af Caesar Van Everdingen i vores katalog er disse 41 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
A single mask lies discarded in the upper corner, a silent witness to a deception. Beneath it, the nymph Callisto reclines upon heavy folds of fabric, her skin catching a pale, directional light that carves her form from the surrounding gloom. She looks upward, her gaze meeting the eyes of a man she believes to be a friend, yet the viewer sees the truth of his divinity. Jupiter stands near…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
This work, titled Vertumnus and Pomona, is a significant example of the mythological painting produced by Caesar van Everdingen. The piece is dated about 1637–1640, a period during which the artist was establishing his presence within the Dutch Golden Age. It is a work that captures a specific moment of classical narrative, rendered with the precision characteristic of his training in Utrecht.
In this 1641 portrait, we find ourselves standing before a dense assembly of men, the officers of the Orange Company of the Old Civic Guard. There is a certain weight to the composition, a horizontal arrangement that feels both crowded and deeply organized. These men are not merely subjects; they are a collective force, their postures providing a structural rhythm to the canvas. The lighting, descending from the upper left,…
This 1636 oil portrait presents a three-quarter length view of an elderly woman, Aechje Claesdr. Moer, set against a somber, atmospheric backdrop. The composition relies on a sharp tonal contrast between her dark, light-absorbing gown and a large, bright white ruff collar. This millstone ruff, with its rhythmic pleats, directs the eye toward the subject's face, which is rendered with naturalistic precision. A soft, directional light enters from the upper…
A woman occupies the foreground, her gaze directed toward the viewer from a waist-up perspective. She is positioned within a rural, village setting characterized by traditional thatched-roof huts and sparse vegetation. The composition utilizes linear perspective to draw the eye toward these structures, creating a sense of depth behind the central figure. Natural, bright daylight illuminates the scene, casting soft shadows that define the textures of her skin and the…
This Baroque-style oil painting presents an intimate mythological scene featuring two figures, Vertumnus and Pomona, set against a dark and atmospheric landscape. The composition centers on a tactile exchange of fruit between a seated figure on the left and a woman on the right. The scene is characterized by a dramatic use of chiaroscuro, where light highlights the faces and hands of the subjects while casting much of the background…
The work before us is the Portrait of an unknown girl, a quiet study by the Dutch Golden Age painter Caesar van Everdingen. This portrait, which is also known by the titles Girl in a Large Hat or Meisje met brede hoed, offers a glimpse into the meticulous portraiture practiced during the mid-17th century. It captures a sense of individual presence through a restrained and dignified approach to the subject.
Officers and standard-bearers of New Civic Guard in Alkmaar1657 · Stedelijk Museum
12
Portrait of Cornelis Jacobsz. Groot (?-1661)1656 · Kunsthandel P. de Boer
13
Four Muses and Pegasus on Parnassus1650 · Huis ten Bosch
14
Lycurgus Demonstrates the Benefits of Education1660 · Stedelijk Museum
15
Self-portrait of Caesar van Everdingen (?-1678)1670 · Stedelijk Museum
16
Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot1664 · Kunsthandel P. de Boer
17
Portrait of Wollebrand Geleynsz de Jongh (1594-1674), with a servant and a child1674 · Stedelijk Museum
18
Four Evangelists: John1676 · Stedelijk Museum
19
Four Evangelists: Luke1676 · Stedelijk Museum
20
Four Evangelists: Mark1676 · Stedelijk Museum
21
Joueuse de Cistre1678 · Musée des Beaux-Arts de Rouen
22
Allegory of the Birth of Frederik Hendrik1650 · Huis ten Bosch
23
Female Figure, possibly Lucretia1793 · Nationalmuseum
24
Diogenes Seeks a True Man1652 · Mauritshuis
25
Still-Life with a Bust of Venus1665 · Mauritshuis
26
View of the Oranjezaal1650 · Huis ten Bosch
27
Amor Holding a Glass Orb1660
28
Count Willem II of Holland Granting Privileges1655 · Gemeenlandshuis
29
Officers and Standard-Bearers of the Old Civic Guard1657 · Stedelijk Museum
30
Nymphs Offering the Young Bacchus Wine, Fruit and Flowers1670 · Museum Kunstpalast
31
Holy Family1660 · Museum Catharijneconvent
32
Portrait of a Girl as a Huntress1665 · Koninklijk Museum voor Schone Kunsten
33
Portrait of a Two-Year-Old Boy1664 · Cannon Hall Museum
34
Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
35
Willem Jacobsz Baert (1636-84), Burgomaster of Alkmaar and Amsterdam, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
36
The four muses with pegasusHuis ten Bosch
37
Portrait of a Dutch CommanderNational Gallery
38
Bacchus with Two Nymphs And Cupid
39
Pan and Syrinx, Caesar Boëtius van Everdingen, c. 1637 - c. 16401640 · Rijksmuseum
40
Girl in a Large Hat1647 · Rijksmuseum
41
Bacchus with Nymphs and Cupid1660 · Gemäldegalerie Alte Meister
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Caesar Van Everdingen | Malerier fra denne liste |
|---|---|---|---|
 Stedelijk Museum |
Alkmaar | 11 | Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Portrait of Pieter Cornelisz. van Everdingen (1575-1662) |
 Rijksmuseum |
Amsterdam | 6 | Woman praying, Winter, Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 1671 |
 Huis ten Bosch |
The Hague | 4 | Four Muses and Pegasus on Parnassus, Allegory of the Birth of Frederik Hendrik, View of the Oranjezaal |
 Nationalmuseum |
Stockholm | 2 | Jupiter and Callisto, Female Figure, possibly Lucretia |
 Kunsthandel P. de Boer |
2 | Portrait of Cornelis Jacobsz. Groot (?-1661), Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot | |
 Mauritshuis |
Haag | 2 | Diogenes Seeks a True Man, Still-Life with a Bust of Venus |
 Thyssen-Bornemisza Museum |
Madrid | 1 | Vertumnus and Pomona |
 J. Paul Getty Museum |
Los Angeles | 1 | Vertumnus and Pomona |
Vælg et årti for at se det originale værk, der definerer det.
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures across multiple levels—from a raised platform in the rear to steps and seated positions in the foreground. A central group dominates the immediate view, while other figures recede into the distance. Diagonals cut through the scene, pulling the eye through the gathering…
This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers a direct encounter with the artist himself during his later years. It is a significant example of the individual's ability to capture his own likeness with a sense of dignity and introspection.
Woman praying (1650), Rijksmuseum, Amsterdam. Derefter følger Jupiter and Callisto (1655) og Winter (1646).
34 år gammel: Woman praying er fra 1650, og Caesar Van Everdingen blev født i 1616.
Woman praying, Jupiter and Callisto, Winter, Vertumnus and Pomona, Vertumnus and Pomona, Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Portrait of Pieter Cornelisz. van Everdingen (1575-1662), Vertumnus and Pomona og Portrait of an unknown girl. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 41 værker af Caesar Van Everdingen, dateret fra 1631 til 1678.
Primært i Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) og Huis ten Bosch (The Hague). Museumslisten ovenfor viser dem alle.
I 1650s: 12 af de 41 værker på denne side blev skabt dengang, herunder Woman praying.
På denne side er det tidligste Vertumnus and Pomona (1631) og det seneste Joueuse de Cistre (1678).
Woman (13), Man (11) og Drapery (5), fordelt på de 41 værker på denne side.
Oil On Canvas, for 15 af de 41 værker på denne side.
Baroque og Dutch golden age, baseret på originalerne på denne side.
Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) og Portrait of Pieter Cornelisz. van Everdingen (1575-1662): Stedelijk Museum, Alkmaar har 11 af værkerne på denne side.
I den hollandske malerkunsts guldalder, hvor samspillet mellem lys og skygge definerede en nations visuelle identitet, trådte Caesar van Everdingen frem som en mester af subtil emotion og atmosfærisk dybde. Han blev født omkring 1616 i den historiske by Alkmaar i Holland, og hans kunstneriske rejse var dybt vævet sammen med sin families prestigefyldte slægt. Selvom han ofte diskuteres side om side med sine berømte brødre, Allart og Jan, formåede Caesar at skabe sit eget særprægede rum inden for den hollandske guldalder. Hans tidlige uddannelse under den respekterede Jan Gerritsz van Bronckhorst i Utrecht gav ham et strengt fundament i klassisk æstetik, hvilket indpodede en præcision i ham, der senere gjorde det muligt at transcendere ren teknisk dygtighed og opnå en sand kunstnerisk vision.
Hans professionelle opstigning tog for alvor fart i 1632, da han officielt blev optaget i lavet i Alkmaar. I disse formative år var hans repertoire præget af omhyggelige portrætter og stemningsfulde genrebilleder – værker, der krævede en intens observation af det menneskelige vilkår. Men i takt med at hans talent modnedes, voksede også hans ambitioner. Han bevægede sig ud over den bogstavelige repræsentations grænser og udviklede en unik evne til at manipulere penselstrøgene for at indfange lysets flygtige nuancer og atmosfærens tyngde. Denne udvikling markerede hans overgang fra en dygtig håndværker til en visionær maler, der var i stand til at indblæse liv i lærredet.
Et skelsættende kapitel i Van Everdingens liv udfoldede sig i 1648, da han flyttede til den livlige og kulturelt rige by Haarlem. Denne flytning var mere end blot et skift af omgivelser; det var en nedsænkning i hjertet af den hollandske kunstverden. Ved at indtræde i det prestigefyldte Skt. Lukas-lav i Haarlem og blive aktiv inden for schutterij (borgergarden), blev Caesar en integreret del af byens sociale og politiske elite. Disse forbindelser viste sig afgørende for at sikre de opgaver, der skulle definere hans historiske betydning.
Måske var det mest bjergtagende bedrift i hans karriere hans deltagelse i udsmykningen af Oranje Zaal (Appelsinsalen) i Huis ten Bosch. Dette monumentale foretagende krævede beherskelse af historiemaleriet i stor skala – en genre, der krævede både narrativ kompleksitet og storslået format. I denne sammenhæng demonstrerede Caesar sin formåen til at komponere episke scener, hvor han forenede historisk tyngde med en delikat berøring. Hans arbejde i denne periode udviste en spirende evne til at håndtere komplekse kompositioner, hvilket sikrede, at hans navn blev indgraveret i Hollands arkitektoniske historie.
I sine senere år vendte Caesar tilbage til sine rødder i Alkmaar, hvor han etablerede et værksted, der blev et fristed for kunstnerisk undervisning. Denne periode i hans liv var præget af en dyb dedikation til forædling af sit håndværk og mentorordning af en ny generation af malere. Hans sene værker reflekterer et livs akkumulerede visdom, karakteriseret ved en tilbagevendende fascination af himmelske og æteriske temaer. Han blev særligt berømt for sine skildringer af vingede figurer – engle og guddommelige væsener – fremstillet med en blødhed, der antydede det sublime nærvær.
Betydningen af Caesar van Everdingen ligger ikke kun i hans individuelle mesterværker, men også i hans rolle som en bro mellem det 17. århundredes stringente traditioner og de mere følelsesladede, atmosfæriske stilarter, der fulgte efter. Hans evne til at forene den hollandske portrætkunsts præcision med det historiske narrativs storhed står som et vidnesbyrd om hans alsidighed. I dag fungerer hans værker som vitale vinduer ind i den hollandske guldalders sjæl og minder os om en tid, hvor hvert penselstrøg var et forsøg på at indfange det evige i det forgængelige.
