Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 3 værker af Cornelis Visscher i vores katalog
Kort sagt
Af alle de originale værker, som Cornelis Visscher efterlod, er det mest berømte Portrait of a Musician (1574), som er en del af samlingen på Kunsthistorisches Museum i Wien. Lige efter følger Portrait of an Elderly Widow Aged Forty with a Child (1576) og William I (1533-1584), Prince of Orange. Vores katalog indeholder 3 værker af Cornelis Visscher; galleriet har bevaret de 3 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
A man sits in the quiet gravity of 1574. He is a figure of shadow and bone, his presence defined by the stark contrast between a dark cap and the luminous, weathered landscape of his face. His beard, a voluminous cascade of white, flows like frozen water against the deep blacks of his heavy garment. He holds a piece of parchment, a fragment of music that anchors him to the…
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Cornelis Visscher | Malerier fra denne liste |
|---|---|---|---|
 Kunsthistorisches Museum |
Wien | 1 | Portrait of a Musician |
Fra 1574 til 1576, i blot 3 år, findes alle de daterede værker af Cornelis Visscher i dette udvalg: her er hvert år i sin fineste form.
Vælg et årstal for at se de originale værker.
A man sits in the quiet gravity of 1574. He is a figure of shadow and bone, his presence defined by the stark contrast between a dark cap and the luminous, weathered landscape of his face. His beard, a voluminous cascade of white, flows like frozen water against the deep blacks of his heavy garment. He holds a piece of parchment, a fragment of music that anchors him to the…
Portrait of a Musician (1574), Kunsthistorisches Museum, Wien. Derefter følger Portrait of an Elderly Widow Aged Forty with a Child (1576) og William I (1533-1584), Prince of Orange.
54 år gammel: Portrait of a Musician er fra 1574, og Cornelis Visscher blev født i 1520.
Vores katalog indeholder 3 værker af Cornelis Visscher, dateret fra 1574 til 1576.
Primært i Kunsthistorisches Museum (Wien). Museumslisten ovenfor viser dem alle.
På denne side er det tidligste Portrait of a Musician (1574) og det seneste Portrait of an Elderly Widow Aged Forty with a Child (1576).
Born in the Dutch city of Gouda around 1520, Cornelis Visscher lived through a period of profound transition in the Low Countries. His identity as a painter is often tied to both Dutch and Flemish traditions, reflecting the fluid borders and shared cultural currents of the sixteenth century. While much of his personal history remains obscured by the passage of centuries, the traces of his hand remain visible in the surviving records of his era.
He moved through a world where the craft of painting was as much about technical precision as it was about capturing the social realities of the time. His life, spanning until 1586, concluded during a period of significant upheaval in the region. He is sometimes identified by various names, including Cornelis de Visscher or Cornelis Visscher the Elder, though these distinctions often blur when looking back at his primary output.
Visscher’s work is characterized by a quiet, observant approach to his subjects. He did not seek to embellish reality but rather to document it with an oil-on-panel technique that favored clarity and presence. His ability to render the human form and the weight of fabric allowed him to capture specific moments of domestic or social significance.
One notable example of his skill is found in the Louvre Museum in Paris, where a work titled Portrait of a forty-year-old widow and a child resides. Created around 1576, this piece offers a glimpse into the artist's capacity for intimacy. The painting presents a woman and her child with a directness that avoids unnecessary drama, focusing instead on the physical reality of the sitters.
In his compositions, certain details emerge from the shadows of history:
The significance of Visscher lies in his contribution to the portraiture tradition of the sixteenth century. He worked during an age when the rise of a middle class created a new demand for personal likenesses, moving away from purely religious or aristocratic subjects. His work provides a window into the lives of individuals who might otherwise have been forgotten by history.
Though he is occasionally confused with later engravers of the same name, the painter Cornelis Visscher remains a distinct figure of the mid-to-late 1500s. His legacy is found in the quiet dignity of his portraits and the enduring presence of his works in major European collections.
