Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 53 værker af Jacob Van Loo i vores katalog
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I galleriets øjne er Jacob Van Loos mest berømte maleri Allegory of Fortune (1655), hvis original hænger på Bavarian State Painting Collections i München. Bacchus and Ariadne (1650) og Portrait of Thomas Corneille (1660) fuldender trioen, som ethvert øje genkender. Ud af de 53 værker af Jacob Van Loo i vores katalog præsenterer galleriet herunder de 51 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
In Allegory of Fortune, Jacob van Loo presents a dense gathering of figures within a dark, lush woodland. The scene is a complex arrangement of movement and light, where the shadows of the forest press against the illuminated bodies of the subjects. At the heart of this chaotic abundance, a central nude figure appears to float or dance, caught in a moment of weightless grace. This figure anchors a composition…
In Bacchus and Ariadne, Jacob van Loo captures a sudden collision of myth and flesh. Created about 1650, the oil painting freezes the precise moment of a mythological encounter. Bacchus lunges from the left, his movement driven by a sudden discovery. He reaches toward the reclining Ariadne, whose form rests upon the right. The scene is a flash of passion caught against a dark, turbulent sky.
The gaze of an elderly man meets us in the Portrait of Thomas Corneille, a work that captures a quiet moment of contemplation. Created by the artist Jacob van Loo, this oil on canvas presents a single subject, an aged male whose presence fills the frame. His long, wispy hair and weathered features suggest a life of significant experience, frozen here in a moment of serene stillness. The portraiture genre…
The Portrait of a Young Girl by Jacob van Loo brings a quiet presence into the room. Painted about 1650, this work captures a moment of stillness in the life of a child. The subject sits with a poised dignity, her gaze meeting the viewer from across the centuries. There is a sense of a life paused, a single breath held in the soft light of the Dutch Golden Age.
The work before us is titled Amorous Couple, a painting by the Dutch artist Jacob van Loo. Created around 1650, this oil on canvas captures a quiet, private moment between two figures. It is a piece that reflects the artist's specific interest in the nuances of human interaction and the subtle play of light across different textures.
The scene unfolds in a moment of profound tension within the painting titled Susannah and the Elders. Created by the artist Jacob van Loo, this oil on canvas captures a heavy, dramatic instance of religious art. The work is signed and dated in the bottom right corner, where the hand of the painter leaves the mark "J; van Loo fecit 1658."
The oil on canvas work titled Portrait of a Lady was executed by the artist Jacob van Loo in 1647. This half-length portrait depicts a woman seated in a high-backed chair. The subject is positioned against a dark, indistinct background that emphasizes her presence and the details of her attire. The composition focuses on the sitter from the waist up, establishing a direct connection through her orientation toward the viewer.
Jacob van Loo’s Family Portrait of Rutger van Weert and Maria Beels presents a formal and dignified arrangement of seven family members within an outdoor setting. The subjects are organized in a loose pyramidal structure, a composition that establishes a sense of stability and familial unity. This group portrait relies on a rhythmic pattern created by the sharp contrast between somber, dark tones—primarily blacks and deep browns in the clothing—and…
Jacob van Loo painted "Diana and her nymphs, resting after the hunt" about 1648. The oil painting depicts a group of women situated within a mythological setting. These figures are identified as the goddess Diana and her nymphs. The scene captures a specific moment of repose following a hunt, moving away from the active pursuit of prey toward a state of rest.
The scene unfolds within the Allegory of Wealth, an oil on canvas created by the Dutch painter Jacob van Loo. This work emerges from around 1650, capturing a moment of profound abundance. The figures exist in a space defined by their interactions, a hallmark of the artist's approach to narrative painting. Every gesture and glance contributes to the unfolding story of prosperity and its allure.
Portrait of Sophia Huydecoper, née Coymans1655
12
Portrait of Joan Huydecoper1655
13
Portrait of Jan Hinlopen and Leonora Huydecoper1657 · Szépművészeti Múzeum
14
Boy with a Top and Dog1650
15
A Glass and Coral Factory1649 · Statens Museum for Kunst
16
Allegory of feeding the poor1657 · Amsterdam Museum
17
Group portrait of the regents of the Aalmoezeniers, Arm- and Werkhuis in Haarlem, 16591659 · Frans Hals Museet
18
Portrait of Lodewijk Huygens (1631-1699)1649
19
Young Man Reading1650
20
Musician with a wine-glass1651 · Wallraf-Richartz-Museum
21
Portrait of a boy with a dog1658 · Musee Baron Martin
22
Mother with two children1657 · Gemäldegalerie
23
Three Men in a Wine Cellar1664
24
Portrait of Michel Corneille (1661-1664)1663
25
Portrait of a woman1662 · Frederik Muller & Co
26
Diana resting and bathing with her nymphs1665 · Herzog Anton Ulrich Museum
27
Amarillis crowning Blueberry.
28
Indulgent Old Lady1654 · Hermitage Museum
29
Venus and Cupid1649 · Statens Museum for Kunst
30
Concert1650 · Hermitage Museum
31
Self Portrait, circa 1660, Jacob van Loo, 1655 - 16651665 · Rijksmuseum
32
Young Woman Going to BedGrand Palais
33
Danae1660 · The Kremer Collection
34
Amaryllis of the Annunciation1649 · Gemäldegalerie
35
Portrait of a Man, thought to be Christoffel van Gangelt, Second Husband of Lucretia Boudaen, Jacob van Loo (attributed to), 1640 - 16701670 · Nationalmuseet i Warszawa
36
Portrait of ScientistThe Art Museum RIGA BOURSE
37
interior - a nude woman - Rhodope
38
A Bacchanal
39
Ariadne.
40
Portrait of Lucretia Boudaen
41
Melancholy
42
Lovers.Rijksmuseum
43
Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 16701670 · Rijksmuseum
44
Diana and Her Nymphs1654 · Statens Museum for Kunst
45
Portrait of a Gentleman
46
Group portrait of the regentesses of AalmoezeniersFrans Hals Museet
47
Danae
48
Portrait of Johan Ort
49
Study of a woman
50
Bacchic sceneRijksmuseum
51
Portrait of the Meebeeck Cruywagen family near the gate of their country home on the Uitweg near Amsterdam.
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 Jacob Van Loo | Malerier fra denne liste |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 4 | Self Portrait, circa 1660, Jacob van Loo, 1655 - 1665, Lovers., Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 1670 |
 Gemäldegalerie |
Berlin | 3 | Diana and her nymphs, resting after the hunt, Mother with two children, Amaryllis of the Annunciation |
 Statens Museum for Kunst |
København | 3 | A Glass and Coral Factory, Venus and Cupid, Diana and Her Nymphs |
 Musée Condé |
Chantilly | 2 | Portrait of Thomas Corneille, Allegory of Wealth |
 Mauritshuis |
Haag | 2 | Amorous Couple, Portrait of a Lady |
 Frans Hals Museet |
Haren | 2 | Group portrait of the regents of the Aalmoezeniers, Arm- and Werkhuis in Haarlem, 1659, Group portrait of the regentesses of Aalmoezeniers |
 Hermitage Museum |
Sankt Petersborg | 2 | Indulgent Old Lady, Concert |
 Bavarian State Painting Collections |
München | 1 | Allegory of Fortune |
Vælg et årti for at se det originale værk, der definerer det.
The oil on canvas work titled Portrait of a Lady was executed by the artist Jacob van Loo in 1647. This half-length portrait depicts a woman seated in a high-backed chair. The subject is positioned against a dark, indistinct background that emphasizes her presence and the details of her attire. The composition focuses on the sitter from the waist up, establishing a direct connection through her orientation toward the viewer.
In Allegory of Fortune, Jacob van Loo presents a dense gathering of figures within a dark, lush woodland. The scene is a complex arrangement of movement and light, where the shadows of the forest press against the illuminated bodies of the subjects. At the heart of this chaotic abundance, a central nude figure appears to float or dance, caught in a moment of weightless grace. This figure anchors a composition…
The gaze of an elderly man meets us in the Portrait of Thomas Corneille, a work that captures a quiet moment of contemplation. Created by the artist Jacob van Loo, this oil on canvas presents a single subject, an aged male whose presence fills the frame. His long, wispy hair and weathered features suggest a life of significant experience, frozen here in a moment of serene stillness. The portraiture genre…
Portrait of a man, presumably Christopher van Gangelt, second husband of Lucretia Boudaen. Kneepiece, standing, with the right hand in the side. Pendant of SK-A-3750.
Allegory of Fortune (1655), Bavarian State Painting Collections, München. Derefter følger Bacchus and Ariadne (1650) og Portrait of Thomas Corneille (1660).
41 år gammel: Allegory of Fortune er fra 1655, og Jacob Van Loo blev født i 1614.
Allegory of Fortune, Bacchus and Ariadne, Portrait of Thomas Corneille, Portrait of a Young Girl, Amorous Couple, Susannah and the Elders, Portrait of a Lady, Family Portrait of Rutger van Weert and Maria Beels, Diana and her nymphs, resting after the hunt og Allegory of Wealth. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 53 værker af Jacob Van Loo, dateret fra 1644 til 1670.
Primært i Rijksmuseum (Amsterdam), Gemäldegalerie (Berlin) og Statens Museum for Kunst (København). Museumslisten ovenfor viser dem alle.
I 1650s: 19 af de 51 værker på denne side blev skabt dengang, herunder Allegory of Fortune.
På denne side er det tidligste Family Portrait of Rutger van Weert and Maria Beels (1644) og det seneste Portrait of a Man, thought to be Christoffel van Gangelt, Second Husband of Lucretia Boudaen, Jacob van Loo (attributed to), 1640 - 1670 (1670).
Woman (15), Man (12) og Dark background (9), fordelt på de 51 værker på denne side.
Oil On Canvas, for 21 af de 51 værker på denne side.
Baroque, baseret på originalerne på denne side.
Self Portrait, circa 1660, Jacob van Loo, 1655 - 1665, Lovers. og Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 1670: Rijksmuseum, Amsterdam har 4 af værkerne på denne side.
Da Jacob van Loo blev født i 1614 i Sluis, en livlig havneby i Den Hollandske Republik, var hans liv uadskilleligt forbundet med sin tids pulserende kunstneriske strømninger. Hans tidlige år blev formet af hans far, Jan van Loo, en maler, der indpodede ham en grundlæggende forståelse for teknik og kunstnerisk håndværk. Selvom detaljerne omkring hans formative år er noget slørede på grund af krigens ødelæggelser af byens arkiver, er det tydeligt, at Van Loos kunstneriske rejse begyndte i den rige vævning af den hollandske guldalder – en æra berømt for sine innovative malestile og produktive kunstnere. Hans familiehistorie er betydningsfuld; hans far var maler, og denne slægt ville ultimativt etablere et malerdynasti, der for altid ville præge europæisk kunst.
Amsterdam blev hurtigt Van Loos adoptivhjem i 1635, hvilket bragte ham ind i en dynamisk kunstnerisk cirkel med skikkelser som Rembrandt, Frans Hals og Bartholomeus van der Helst. Dette miljø fremmede intens konkurrence og samarbejde, hvilket pressede grænserne for den kunstneriske udfoldelse. Byens travle atmosfære gav uden tvivl næring til hans kreativitet og leverede en konstant strøm af inspiration, der udfordrede ham til at forfine sine færdigheder. I 1642 indgik han ægteskab med Anna Lengele, en forening der bragte stabilitet og bidrog til familiens voksende indflydelse i kunstverdenen. Deres husholdning blomstrede med seks børn, herunder de talentfulde malere Jean-Baptiste van Loo og Louis-Abraham van Loo – hvilket skabte en arv, der rakte langt ud over hans egen levetid.
Van Loo udmærkede sig gennem sin mesterlige beherskelse af "konversationelle grupperinger", en teknik der revolutionerede genren for historiemaleri. I modsætning til tidligere fremstillinger, som ofte præsenterede mytologiske eller bibelske scener som statiske og formelle begivenheder, befolket Van Loo sine lærreder med livlige, engagerende figurer fanget i øjeblikke af interaktion – dialoger, gestik og ansigtsudtryk, der pustede liv i fortællingen. Denne tilgang var ikke blot dekorativ; den gav malerierne en følelse af umiddelbarhed og realisme, der trak beskueren direkte ind i scenen.
Hans dygtighed strakte sig især til hans skildringer af nøgenstudier, et emne der ofte blev betragtet som dristigt for sin tid. Mens Rembrandts kvindeskikkelser blev hyldet for deres psykologiske dybde og emotionelle resonans, vandt Van Loos nøgenstudier stor popularitet blandt publikum. Nogle samtidige kritikere foreslog endda, at hans kvindelige former var mere foretrukne end hans amsterdamske rivals. Denne præference vidner om offentlighedens værdsættelse af hans tekniske virtuositet og den idealiserede skønhed, han indfangede på lærredet. Bemærkelsesværdigt nok blev hans kvindelige figurer i hans levetid anset for at være overlegne og mere populære end Rembrandts.
Van Loos kunstneriske udvikling var uden tvivl formet af flere nøgleindflydelser. Tidlige forbindelser med Thomas de Keyser og Jacob Adriaensz Backer gav ham et solidt fundament i klassiske teknikker og komposition. Disse møder eksponerede ham for renæssancekunstens principper, som han dygtigt integrerede i sin egen stil. Barokbevægelsen, der havde sit udspring i Rom, udøvede også en betydelig indvirkning og bidrog med den dramatiske lyssætning, de rige farver og de dynamiske positurer, der er karakteristiske for hans værk.
Hans tid i Paris viste sig at være afgørende og markerede et skift mod større elegance og raffinement. Han blev optaget i Académie royale de peinture et de sculpture i 1663, hvilket cementerede hans position i det franske kunstetablissement. Dette skifte signalerede ikke blot en professionel fremgang, men også en dybere engagement med de skiftende smagsretninger og konventioner i den parisiske kunstverden.
Jacob van Loos indflydelse rakte langt ud over hans egen levetid. Hans succes etablerede "Van Loo-malerfamilien", et dynasti, der gennem århundreder satte dybe spor i europæisk malerkunst. Hans søn, Jean-Baptiste van Loo, førte familietraditionen videre og producerede værker af exceptionel kvalitet med en distinkt kunstnerisk stil. Hans barnebarn, Charles-André van Loo, udvidede yderligere familiens eftermæle og blev en af de mest fejrede franske malere i det 18. århundrede.
Van Loo-dynastiets indflydelse kan ses i værkerne fra efterfølgende generationer, hvilket demonstrerer en kontinuerlig evolution og tilpasning af faderens innovative teknikker. Jacob van Loos pionerarbejde inden for komposition, hans mesterlige håndtering af nøgenstudier og etableringen af en varig kunstnerisk slægt sikrede ham hans plads som en central skikkelse i både hollandsk og fransk kunsthistorie. Hans malerier studeres og beundres stadig den dag i dag for deres skønhed, dynamik og tidløse appel.
Yderligere information om Jacob van Loo kan findes i Artists Database og i en detaljeret Wikipedia-artikel: Wikipedia.
