Kort sagt
Af alle de originale værker, som Jean Berain The Elder efterlod, er det mest berømte Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663), som er en del af samlingen på Château de Chantilly i Chantilly. Lige efter følger Dream in Atys (1690) og Costume du Soleil pour l’acte IV de Phaéton (1683). Vores katalog indeholder 9 værker af Jean Berain The Elder; galleriet har bevaret de 9 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
Jean Berain The Elders top 10 malerier: galleriets udvalg
Costume du Soleil pour l’acte IV de Phaéton
To gaze upon this depiction of Costume du Soleil pour l’acte IV de Phaéton is to step directly onto the gilded stage of an eighteenth-century opera. Painted by Jean Berain the Elder in 1683, this work transcends a mere portrait or costume study; it captures a moment suspended between myth and spectacle. The subject, elegantly arrayed in what appears to be a sunlit guise—suggested by the title itself—holds a delicate…
Costume de la Paix pour le prologue de Proserpine
To gaze upon Jean Berain the Elder's "Costume de la Paix pour le prologue de Proserpine" is to step directly into an era where allegory and exquisite costume design converged with high art. This painting, executed in 1680, is not merely a portrait of a woman; it is a carefully constructed tableau vivant, a visual poem dedicated to the concept of peace itself. The central figure, adorned in what appears…
Kostume til den store præstesøn Apollon for Bellérophon
Jean Berain den Äldre og "Kostume du grand sacrificateur d’Apollon pour Bellérophon": En Symfonisk Ode til Ære og Majestæt Jean Berain den Äldre, født omkring 1640 i Saint-Mihliel og død 1711 i Amsterdam, var en danskfødt nederländsk maler som opererade under Barokken och är mest känd för sina detaljerade och dramatiska landskapsbilder samt detta imponerande verk – "Kostume du grand sacrificateur d’Apollon pour Bellérophon". Detta monumentala tryck från 1686 är…
Motiverne, der fangede Jean Berain The Elders blik
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
Costume design 2 værker
Mythology 2 værker
17th century art 2 værker
De museer, der udstiller Jean Berain The Elders originalværker
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Jean Berain The Elder | Malerier fra denne liste |
|---|---|---|---|
| Chantilly | 8 | Costume de la Beauté pour la septième et dernière entrée du Ballet des arts, Costume du Soleil pour l’acte IV de Phaéton, Costume de la Paix pour le prologue de Proserpine | |
| Paris | 1 | Dream in Atys |
Jean Berain The Elder årti for årti: det originale værk, der definerer hvert enkelt
Værker per årti
Vælg et årti for at se det originale værk, der definerer det.
Costume de la Beauté pour la septième et dernière entrée du Ballet des arts
Costume du roi Égée pour la tragédie en musique Thésée, Berain
Costume du Soleil pour l’acte IV de Phaéton
To gaze upon this depiction of Costume du Soleil pour l’acte IV de Phaéton is to step directly onto the gilded stage of an eighteenth-century opera. Painted by Jean Berain the Elder in 1683, this work transcends a mere portrait or costume study; it captures a moment suspended between myth and spectacle. The subject, elegantly arrayed in what appears to be a sunlit guise—suggested by the title itself—holds a delicate…
Samleres spørgsmål om Jean Berain The Elders malerier
Hvilket værk er Jean Berain The Elder mest kendt for?Vis svaret
Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663), Château de Chantilly, Chantilly. Derefter følger Dream in Atys (1690) og Costume du Soleil pour l’acte IV de Phaéton (1683).
Hvor gammel var Jean Berain The Elder, da Costume de la Beauté pour la septième et dernière entrée du Ballet des arts blev skabt?Vis svaret
23 år gammel: Costume de la Beauté pour la septième et dernière entrée du Ballet des arts er fra 1663, og Jean Berain The Elder blev født i 1640.
Hvor mange malerier efterlod Jean Berain The Elder?Vis svaret
Vores katalog indeholder 9 værker af Jean Berain The Elder, dateret fra 1663 til 1690.
I hvilke museer udstilles Jean Berain The Elder's mesterværker?Vis svaret
Primært i Château de Chantilly (Chantilly) og Bibliothèque nationale de France (Paris). Museumslisten ovenfor viser dem alle.
I hvilke år malede Jean Berain The Elder sine mest berømte værker?Vis svaret
I 1660s: 3 af de 9 værker på denne side blev skabt dengang, herunder Costume de la Beauté pour la septième et dernière entrée du Ballet des arts.
Hvad er de første og de sidste berømte originaler af Jean Berain The Elder?Vis svaret
På denne side er det tidligste Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663) og det seneste Dream in Atys (1690).
Hvilke motiver valgte Jean Berain The Elder oftest?Vis svaret
Costume design (2), Mythology (2) og 17th century art (2), fordelt på de 9 værker på denne side.
Hvilken kunstretning tilhører Jean Berain The Elder?Vis svaret
Baroque, baseret på originalerne på denne side.
Hvilke værker af Jean Berain The Elder udstilles på Château de Chantilly?Vis svaret
Costume de la Beauté pour la septième et dernière entrée du Ballet des arts, Costume du Soleil pour l’acte IV de Phaéton og Costume de la Paix pour le prologue de Proserpine: Château de Chantilly, Chantilly har 8 af værkerne på denne side.
Jean Berain The Elder: liv og værk
The Architect of Ornament
Jean Bérain the Elder stands as one of the most influential decorative forces of the French Baroque era, a master whose vision extended far beyond the boundaries of a single canvas. Born in Saint-Mihiel, Meuse, in the Spanish Netherlands, he was the son of a master gunsmith, an upbringing that likely introduced him to the intricate precision of engraving from a young age. Establishing himself in Paris by 1663, Bérain became the artistic heartbeat of the Royal office of the Menus-Plaisirs du Roi. In this prestigious capacity, he served as the primary designer for the most magnificent court spectacles of the age, ranging from the joyous festivities of royal fêtes to the solemn grandeur of state funerals.
His work was not merely decorative but foundational to the visual identity of the French court. As a draughtsman, designer, painter, and engraver, he possessed a rare ability to translate complex mythological narratives into exquisite ornamental patterns. His influence was so pervasive that the connoisseur Pierre-Jean Mariette famously remarked that nothing was done, in whatever genre it might have been, unless it followed Bérain's manner or utilized his designs. This profound reach ensured that his aesthetic permeated not only the halls of Versailles but also spread through the Low Countries, Germany, and London.
The Berainesque Legacy
The hallmark of his genius lies in what became known as the Berainesque style. This aesthetic was characterized by a delicate dance of light arabesques and playful grotesques, creating a sense of movement and elegance that bridged the gap between the heavy grandeur of the Baroque and the upcoming lightness of the Rococo. His designs for furnishings and courtly spectacles provided the essential elements for the style Régence, which eventually blossomed into the French Rocaille and the broader European Rococo movement.
Bérain's technical mastery allowed him to navigate various media with seamless grace:
- Etching and Watercolor: In works such as his depiction of the costume for Bellérophon, he utilized the precision of etching paired with luminous watercolor washes to capture dramatic lighting and emotive expression.
- Costume Design: He possessed a singular talent for creating tableaux vivants through costume, where clothing became an allegory for peace or solar power, as seen in his studies for the works of Proserpine and Phaéton.
- Ornamental Engraving: Drawing from his father's lineage, he utilized engraving to disseminate intricate patterns that influenced architectural and interior design across Europe.
Through his close friendship with Nicodemus Tessin the Younger, Bérain’s nuanced interpretation of the Louis XIV style was transmitted even to the royal circles in Sweden, cementing his status as a truly international figure of the decorative arts. His career was not just a personal success but a period of immense cultural transmission, where his hand guided the very fabric of European elegance.