Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 33 værker af Johann Liss i vores katalog
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Nymph and Shepherd (1625) er det maleri af Johann Liss, der vækker mest opsigt; originalen findes på Metropolitan Museum of Art, New York. Derefter falder blikket på Temptation of Saint Anthony (1614) og The Apostle Paul (1614). Blandt de 33 værker af Johann Liss i vores katalog er disse 31 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
The Apostle Paul emerges from the shadows of history in this striking portrait by Johann Liss. Created about 1614, the work captures a moment of profound spiritual intensity. The subject is an elderly man, his features weathered by time and his spirit ignited by divine inspiration. He is identified as the Apostle Paul, a figure of immense weight in religious tradition, appearing here with a sense of urgent, living presence.
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A pale, luminous figure lies amidst the dark textures of a cavernous landscape. This reclining nude female rests upon a bed of grass and white drapery, her body catching a soft, directional light that pulls her from the surrounding gloom. She faces away, her posture relaxed and heavy with sleep. Around her, the world is composed of craggy, dark rocky masses and deep, earthy tones of ochre and brown. The…
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
A youthful figure emerges from a heavy, dark void. This is Cupid, the god of desire, caught in a moment of quiet tension. His skin possesses a luminous, fleshy quality that seems to hold its own light against the surrounding gloom. He holds a single arrow diagonally across his chest, a sharp instrument of fate held with a soft, unstudied grace. The composition pulls the viewer into an intimate space,…
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Temptation of Saint Anthony1660 · Bavarian State Painting Collections
12
The Ecstasy of St Paul1628 · Staatliche Museen zu Berlin
13
The Prodigal Son1625 · Academy of Fine Arts Vienna
14
Untitled (D2X6GG)1626 · Metropolitan Museum of Art
15
A Bacchanalian Feast1617 · Fitzwilliam-museet
16
Judith in the Tent of Holofernes1622 · National Gallery
17
The Fall of Phaeton1624 · National Gallery
18
Adam and Eve Mourning for Abel1624 · Gallerie dell'Accademia di Venezia
19
The Vision of St Jerome1627 · San Nicola da Tolentino
20
Franciscan MonkStatens Museum for Kunst
21
A lute player
22
MOISE SAUVE DES EAUXPalais des Beaux-Arts de Lille
23
E Dirck van der Blind Mans Buff
24
Abel mourned by his parents
25
The Satyr and the Peasant1626 · National Gallery of Art
26
Venus and Adonis1625 · Staatliche Kunsthalle Karlsruhe
27
Døden til Kleopatra1622 · Alte Pinakothek
28
Offeringen af Isaac1624 · Gallerie dell'Accademia di Venezia
29
Judith and Holophernes1628 · Kunsthistorisches Museum
30
Apollo and Marsyas1627 · Gallerie dell'Accademia di Venezia
31
Venus in front of the Mirror1625 · Galleria degli Uffizi
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 Johann Liss | Malerier fra denne liste |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 4 | Temptation of Saint Anthony, The Apostle Paul, Temptation of Saint Anthony |
 Gallerie dell'Accademia di Venezia |
Venedig | 3 | Adam and Eve Mourning for Abel, Offeringen af Isaac, Apollo and Marsyas |
 Metropolitan Museum of Art |
New York | 2 | Nymph and Shepherd, Untitled (D2X6GG) |
 Statens Museum for Kunst |
København | 2 | Sleeping Nymph, Franciscan Monk |
 National Gallery |
London | 2 | Judith in the Tent of Holofernes, The Fall of Phaeton |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kassel | 1 | A Game of Morra |
 Szépművészeti Múzeum |
Budapest | 1 | Village Wedding Procession |
 Germanisches Nationalmuseum |
Nürnberg | 1 | The prodigal son at the prostitutes |
15 år adskiller Johann Lisss første og sidste daterede originaler vist her, 1614 og 1628: hvert år har sin plads nedenfor.
Vælg et årstal for at se de originale værker.
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
Mere fra 1614
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A large dining table draped in white cloth anchors the scene, a pale island amidst a sea of movement. Figures cluster around this center, their bodies caught in various states of repose and action. Some sit, anchored by the weight of the feast, while others stand, their limbs tracing arcs through the air. The air feels thick with the energy of a communal celebration, a moment of shared indulgence frozen…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Mere fra 1620
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
Mere fra 1622
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Mere fra 1624
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
Mere fra 1625
In the vast tapestry of the 17th-century Baroque era, where the theatrical shadows of Caravaggio and the luminous interiors of Vermeer often command the spotlight, there exists a more intimate, whispered form of storytelling. Johann Liss’s “The Temptation of Saint Mary Magdalen,” completed around 1626, serves as a profound testament to this subtle mastery. The painting captures a pivotal moment of spiritual and psychological tension, inviting the viewer into a…
Mere fra 1626
The air in the room feels heavy with the weight of a sudden, celestial intrusion. St. Jerome sits amidst the quietude of his devotion, an old man whose white beard catches the light, marking him as a soul weathered by years of study and solitude. He is not alone. The stillness is broken by the presence of angels, their forms appearing as if they have just stepped through the veil…
Mere fra 1627
To gaze upon The Ecstasy of St Paul is to be enveloped in a moment so transcendent it seems plucked directly from the annals of divine revelation. This painting does not merely depict an event; it captures the very breath of spiritual rapture. At its heart, St. Paul is suspended, his outstretched arms reaching not just toward the heavens, but into a palpable emanation of grace. The composition centers on…
Mere fra 1628
Nymph and Shepherd (1625), Metropolitan Museum of Art, New York. Derefter følger Temptation of Saint Anthony (1614) og The Apostle Paul (1614).
28 år gammel: Nymph and Shepherd er fra 1625, og Johann Liss blev født i 1597.
Nymph and Shepherd, Temptation of Saint Anthony, The Apostle Paul, Curse of Cain, A Game of Morra, Village Wedding Procession, Sleeping Nymph, The prodigal son at the prostitutes, Cupid (Amor) og Temptation of Saint Anthony. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 33 værker af Johann Liss, dateret fra 1614 til 1628.
Primært i Bavarian State Painting Collections (München), Gallerie dell'Accademia di Venezia (Venedig) og Metropolitan Museum of Art (New York). Museumslisten ovenfor viser dem alle.
I 1624: 4 af de 31 værker på denne side blev skabt dengang, herunder Temptation of Saint Anthony.
På denne side er det tidligste Temptation of Saint Anthony (1614) og det seneste The Ecstasy of St Paul (1628).
Man (10), Woman (9) og People (7), fordelt på de 31 værker på denne side.
Oil On Canvas, for 14 af de 31 værker på denne side.
Baroque, baseret på originalerne på denne side.
Temptation of Saint Anthony, The Apostle Paul og Temptation of Saint Anthony: Bavarian State Painting Collections, München har 4 af værkerne på denne side.
Johann Liss, også kendt som Jan Lys, står som en lysende skikkelse i det 17. århundredes tyske barokke bevægelse, en maler hvis rejse gennem Europa spejlede sin tids levende og skiftende strømninger. Født i Slesvig-Holsten, Tyskland, nærmere bestemt i Oldenburg, blev Johann Liss' tidlige liv formet af de strenge kunstneriske traditioner i hans hjemstat. Hans vej som kunstner var præget af konstant bevægelse og dyb transformation, idet han bevægede sig fra de nordtyske egne til kontinentets store kunstneriske knudepunkter. Gennem sine studier hos Hendrick Goltzius i Haarlem og Amsterdam opsugede han den tekniske mesterlighed fra den hollandske tradition, før han begav sig ud på rejser, der i sidste ende førte ham gennem Paris og ind i hjertet af Italien.
Udviklingen af Johann Liss' stil er en fængslende undersøgelse i kunstnerisk tilpasning. Hans tidlige periode, markeret ved hans ophold i Rom omkring 1620–1622, afslører en dyb engagement i Caravaggios dramatiske spænding. I disse formative år var hans lærreder defineret af de skarpe, kraftfulde kontraster mellem lys og skygge, en teknik der indgydede hans religiøse og mytologiske motiver med en umiddelbar, visceral tilstedeværelse. Men i takt med at han migrerede mod Venedig, gennemgik hans palet en storslået metamorfose. De dyster dybder fra hans romerske periode veg pladsen for en livlig behandling af maleriets overflade, karakteriseret ved strålende farver og et løst, energisk penselstrøg, der syntes at ånde af liv.
Johann Liss besad en sjælden evne til at navigere i de dualistiske riger mellem det hellige og det profane, hvor han behandlede bibelske fortællinger og klassiske myter med lige stor emotionel intensitet. I hans religiøse værker, såsom Isaks Ofring, benyttede han den barokke æstetik til at udforske dybe temaer om tro, lydighed og guddommelig indgriben. Han placerede ofte disse tunge teologiske øjeblikke mod ekspansive, detaljeret gengivne landskaber, hvilket skabte en spænding mellem skriftens monumentale vægt og den naturlige verden. Hans skildringer af det guddommelige var aldrig blot statiske; de pulserede med en følelse af bevægelse og psykologisk dybde, der indfangede det 17. århundredes religiøse glød.
Omvendt tillod hans mytologiske værker en mere sanselig udforskning af den menneskelige form og klassiske legender. I værker som Venus og Adonis omfavnede Johann Liss en spirende æstetik af skønhed og begær, hvor han brugte olie på kobber til at opnå subtile tonale variationer, der forhøjede den emotionelle tyngde i den ovidianske tragedie. Uanset om han indfangede Cleopatras tragiske død eller den guddommelige dom i Apollo og Marsyas, søgte hans arbejde konsekvent at transcendere simpel historiefortælling. Han søgte mod følelsens rå kraft og benyttede tyk impasto og dynamiske kompositioner for at sikre, at ethvert mytologisk møde føltes både antikt og presserende levende.
Betydningen af Johann Liss rækker langt ud over hans individuelle lærreder, da hans stilistiske innovationer hjalp med at bane vejen for fremtidige generationer af malere. Hans senere venetianske stil, med dens vægt på lys, farve og en vis flydende spontanitet, fungerede som en forløber for rokokoen. De energiske penselstrøg i hans arbejde kan ses som en tidlig indflydelse på de store Guardi-brødre, og hans evne til at integrere fremmede indflydelser i den venetianske tradition satte et varigt præg på republikkens kunstneriske landskab.
Hans indflydelse mærkes tydeligst i slægten af det 18. århundredes mestre. Værkerne af Sebastiano Ricci, Giovanni Battista Tiepolo og Giovanni Piazzetta bærer alle ekkoer af den genialitet og bevægelse, som Johann Liss var pioner for. Selvom hans liv blev afbrudt af pesten i Verona, og han efterlod sig en arv af både fromme bibelske motiver og sanselige mytologiske fortællinger, forbliver han et vitalt led i kæden af barok excellence. Han var en maler, der mestrede transformationens kunst: at forvandle Roms skygger til Venedigs strålende lys.
