Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 172 værker af Joos Van Cleve i vores katalog
Kort sagt
Af alle de originale værker, som Joos Van Cleve efterlod, er det mest berømte The Virgin and Child with Angels (1520), som er en del af samlingen på Walker Art Gallery i Liverpool. Lige efter følger The Infants Christ and Saint John the Baptist Embracing (1525) og Madonna and Child (1525). Vores katalog indeholder 172 værker af Joos Van Cleve; galleriet har bevaret de 100 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
To stand before this panel is to enter a quiet, sacred space carved out of the sixteenth century. Joos van Cleve presents us with the Virgin Mary seated upon a throne, her presence defined by a sense of regal calm. She cradles the infant Jesus, a moment of maternal tenderness that feels both profoundly human and deeply celestial. Surrounding them, a group of angels attends to the scene, their movements…
Two small, pale bodies press together in a quiet, fleshy embrace. They sit upon a soft green cushion, their limbs soft and rounded against the hard, dark lines of an architectural frame. This frame acts as a proscenium arch, a heavy stone window that separates the viewer from the divine intimacy of the scene. The light falls softly across their skin, catching the curve of a shoulder and the swell…
The air feels still in this intimate corner of the sixteenth century. A serene Madonna leans forward, her presence defined by the deep red of her mantle and the dark green of her gown. She holds the Christ Child with a tenderness that transcends the painted surface, her skin glowing with a soft, diffused light that seems to emanate from within the panel itself. They sit behind a cold stone…
A young woman is captured in a three-quarter view, her gaze directed slightly away from the viewer. She is dressed in a dark, near-black bodice and muted greyish-blue sleeves, accented by vibrant red fabric at the wrists. A white headpiece frames her face, while a fur trim adds texture to her attire. The composition focuses on the subject from the waist up, set against a flat, dark green background that…
Within the quiet confines of a structured architectural niche, a tender scene unfolds. The Virgin Mary sits in a moment of profound intimacy, her body turned toward the infant Christ as she offers him nourishment. This act of nursing transcends mere physical sustenance, acting as a quiet symbol of the divine meeting the human. Her mantle, a deep and saturated crimson, flows around her with a heavy, tactile presence, contrasting…
The Portrait of Young Man in a Black Hat is a work by the Flemish Renaissance painter Joos van Cleve. Created in 1519, this portrait captures a single moment of stillness. The subject is a young man, rendered with a quiet, steady presence. He exists within a space defined by shadow and light, his gaze directed slightly away from the viewer.
There is a certain stillness in this 1524 portrait that commands immediate attention. The subject, a young man positioned slightly off-center, gazes toward the right of the frame with a contemplative, almost distant expression. He is draped in a dark doublet, but it is the large, floppy red beret that anchors the composition. This saturated crimson creates a sharp, deliberate contrast against the muted, cool blue of the background. The…
In this oil portrait, we find ourselves in a private, hushed space with a young woman caught in a moment of profound stillness. She is likely the Virgin Mary, her gaze cast downward in a gesture of quiet contemplation. The composition focuses on her from the waist up, pulling the viewer into her intimate sphere through a medium close-up. A deep, monochromatic background of midnight blue and teal envelops her,…
The heavy, velvety folds of a red mantle anchor the composition, pressing against the deep teal of a gown. Within this weight of fabric, the Virgin Mary sits with a stillness that feels carved from the air itself. She holds the Christ Child, whose soft skin catches a light coming from the upper left. A translucent veil rests upon her head, its sheer texture nearly invisible against the pale tones…
The composition centers on the vertical axis of the cross, where the figure of Christ dominates the upper half of the frame. Below, three figures anchor the scene: the Virgin Mary in dark blue, a mourning woman kneeling, and Saint John the Evangelist in red. The palette relies on the contrast between these deep primary tones and the pale, luminous skin of the crucified figure. Soft, diffused lighting casts gentle…
The Holy Family1512 · Metropolitan Museum of Art
12
The Holy Family1520 · Statens Museum for Kunst
13
Madonna and Child Eating an Apple1527 · Nationalmuseet i Kraków
14
Mary and Joseph, Kneeling Before the Child1513 · Staatliche Kunstsammlungen Dresden
15
Winged Altar1530 · Kunsthistorisches Museum
16
Emperor Maximilian I. (1459-1519)1508 · Kunsthistorisches Museum
17
Lamentation of Christ1524 · Städel Museum
18
The Birth of Christ1520 · Kunsthistorisches Museum
19
Virgin and Child1525 · Metropolitan Museum of Art
20
Madonna with Pear1515 · Städel Museum
21
Monna Vanna Nuda1530 · Nationalgalleriet i Prag
22
Madonna and Child with Carnation1535 · The Nelson-Atkins Museum of Art
23
Madonna and Child1524 · Museum Boijmans Van Beuningen
24
Eleanor of Austria (1498–1558), Queen of France1530 · Musée Condé
25
Assumption of Mary1501 · Sacred Art Museum of Funchal
26
Portrait of a Beardless Man1519 · Gemäldegalerie Alte Meister
27
Saint Catherine (left); Saint Mary Magdalene (right)1518 · Julius Böhler AG
28
Portrait of a Physician with Cap and Black Robe1510
29
Triptych of Incarnation1510 · Sacred Art Museum of Funchal
30
The Virgin with the Sleeping Child1517 · Szépművészeti Múzeum
31
Marientod Altarpiece - left wing1515 · Bavarian State Painting Collections
32
Salvator Mundi1512
33
Adam1507
34
Eve1507
35
Madonna and Child with a Dominican Offering His Heart1510
36
Triptych. Centre: the Deposition from the Cross; Left wing: St John the Baptist with a Donor; Right wing: St Margaret of Antioch with a Donatrix1518 · Scottish National Gallery
37
Saint Reinhold Altar1510 · Nationalmuseet i Warszawa
38
Portrait of Francis I, King of France1532 · Philadelphia Museum of Art
39
Rest on the flight to Egypt1513 · De Kongelige Skønkunstmuseer i Belgien
40
Lamentation of Christ1512 · Wallraf-Richartz-Museum
41
Saints Catherine and Gudula with Catharina Hackeney (née Hardenrath) and Sibilla Hackeney (née van van Merle)1515 · Wallraf-Richartz-Museum
42
Saints George and Nicasius with Georg and Nicasius Hackeney1515 · Wallraf-Richartz-Museum
43
Portrait of a woman with a rosary1516 · Museum Mayer van den Bergh
44
Noli me tangere1517 · Suermondt-Ludwig-Museum
45
Virgin and Child1515 · Julius Böhler AG
46
The Madonna and Child1512 · Kunsthandel P. de Boer
47
The Suicide of Lucretia1520 · Kunsthistorisches Museum
48
Margaretha Boghe1518 · Rubens House
49
Mary with Child1527 · Museum Catharijneconvent
50
Altarpiece of the Lamentation of Christ: The Stigmatization of Saint Francis of Assisi1522
51
Christ Appears to Mary Magdalene1524 · Julius Böhler AG
52
Mary with Child1525
53
Mary with Child1525
54
Portrait of a Young Man (Lyons)1528 · Musée des Beaux-Arts de Lyon
55
Portrait of Eleonora, Queen of France1530 · Museo Lázaro Galdiano
56
Virgin of the Annunciation1524 · Städel Museum
57
Saint Veronica Displaying the Sudarium1524 · Städel Museum
58
Joseph of Arimathea1524 · Städel Museum
59
Angel of the Annunciation1524 · Städel Museum
60
Triptych with the Lamentation of Christ1524 · Städel Museum
61
Adoration of the Magi1525 · Detroit Institute of Arts
62
Virgin Mary in Prayer1522 · National Galleries of Palazzo Spinola
63
Bust of a woman1525 · Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe
64
Half length portrait of a man1526 · Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe
65
Portrait of a Man with a Rosary1519 · Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe
66
The Holy Family1520 · Currier Gallery of Art
67
Mater Dolorosa1525 · Yale University Art Gallery
68
Portrait of a Man with Gloves1528 · Gemäldegalerie
69
Madonna and Child1532 · Cincinnati Art Museum
70
Portrait of a Man with Gloves1520
71
Rest in flight1525 · Bavarian State Painting Collections
72
Christ on the Cross1529 · Bavarian State Painting Collections
73
Marientod Altar: Saints Christina and Gudula with donors Christina and Sibilla Hackeney behind outside: SS. Sebastian and Roch1519 · Bavarian State Painting Collections
74
Portrait of a Lady1522 · Bavarian State Painting Collections
75
Man dressed in black holding gloves1530
76
Henry VIII (1491-1547)1532 · Royal Collection
77
Eleanora of Austria, Queen of France (1498-1558)1532 · Royal Collection
78
Crucifixion with Virgin, Mary Magdalene and Saint John1530
79
The Holy Family1530
80
Triptych with the Adoration of the Magi1520 · Nationalgalleriet i Prag
81
Virgin and Child1525
82
The Holy Family (Ghent)1520 · Museum of Fine Arts Ghent (MSK)
83
The Christ-Child1524 · Det Kongelige Museum for Fin Kunst Antwerpen
84
Virgin and Child with St Joseph1525
85
Portrait of Adriaan van der Goes (....-1560)1526 · Het Prinsenhof
86
Portrait of Stefano Raggio (?)1522 · National Galleries of Palazzo Spinola
87
Holy Family1530
88
Virgin and Child with Saints Anne and Joachim1520 · De Kongelige Skønkunstmuseer i Belgien
89
Portrait of Anna Laurensdr. van Spangen (....1548)1526 · Het Prinsenhof
90
Portrait of a man1520
91
portrait of a man1520
92
Madonna and Child, Madonna with the cherries1525 · Gemäldegalerie
93
Adoration of the Magi with Sigismund I of Poland.1520 · Gemäldegalerie
94
Saint Jerome in His Study1521 · Harvard Art Museums
95
Saint Jerome in His Study1528
96
Portrait of Francis I, King of France1535 · Carnavalet Museum
97
Jesus and Saint John as infants embracing1540
98
Madonna and Child1535 · Nationalmuseet for kunst, arkitektur og design
99
Self Portrait1537 · Royal Collection
100
Katlijne van Mispelteeren, The Artist's Wife1537 · Royal Collection
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 Joos Van Cleve | Malerier fra denne liste |
|---|---|---|---|
 Städel Museum |
Frankfurt | 9 | Madonna and Child, Madonna and Child in a Niche, Lamentation of Christ |
 Kunsthistorisches Museum |
Wien | 6 | Mary with Child, Winged Altar, Emperor Maximilian I. (1459-1519) |
 Bavarian State Painting Collections |
München | 6 | Marientod Altarpiece - left wing, Rest in flight, Christ on the Cross |
 Royal Collection |
London | 4 | Henry VIII (1491-1547), Eleanora of Austria, Queen of France (1498-1558), Self Portrait |
 Philadelphia Museum of Art |
Philadelphia | 5 | Portrait of a Young Man, Crucifixion, Portrait of Francis I, King of France |
| Julius Böhler AG | Starnberg | 4 | Saint Catherine (left); Saint Mary Magdalene (right), Virgin and Child, Christ Appears to Mary Magdalene |
 Wallraf-Richartz-Museum |
Köln | 4 | Lamentation of Christ, Saints Catherine and Gudula with Catharina Hackeney (née Hardenrath) and Sibilla Hackeney (née van van Merle), Saints George and Nicasius with Georg and Nicasius Hackeney |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kassel | 3 | Bust of a woman, Half length portrait of a man, Portrait of a Man with a Rosary |
Vælg et årti for at se det originale værk, der definerer det.
A formal bust-length portrait captures Emperor Maximilian I within an arched, gilded frame that provides a sense of depth. The subject is positioned slightly off-center, his gaze directed toward the left. A deep forest green background provides a stark contrast to the black cap and heavy garments worn by the sitter. Gold patterns decorate the sleeves, catching the light that enters from the upper left. This lighting casts soft shadows…
The Portrait of Young Man in a Black Hat is a work by the Flemish Renaissance painter Joos van Cleve. Created in 1519, this portrait captures a single moment of stillness. The subject is a young man, rendered with a quiet, steady presence. He exists within a space defined by shadow and light, his gaze directed slightly away from the viewer.
To stand before this panel is to enter a quiet, sacred space carved out of the sixteenth century. Joos van Cleve presents us with the Virgin Mary seated upon a throne, her presence defined by a sense of regal calm. She cradles the infant Jesus, a moment of maternal tenderness that feels both profoundly human and deeply celestial. Surrounding them, a group of angels attends to the scene, their movements…
The heavy, velvety folds of a red mantle anchor the composition, pressing against the deep teal of a gown. Within this weight of fabric, the Virgin Mary sits with a stillness that feels carved from the air itself. She holds the Christ Child, whose soft skin catches a light coming from the upper left. A translucent veil rests upon her head, its sheer texture nearly invisible against the pale tones…
In Jesus and Saint John as infants embracing, Joos van Cleve draws the viewer into a private, quiet world through a close-up, eye-level view. The composition is tightly focused on the two central subjects, pulling all attention toward the tender physical connection between the infants. This intimacy is heightened by a dramatic lighting scheme reminiscent of chiaroscuro, where a strong light source from the front-left carves the figures out of…
The Virgin and Child with Angels (1520), Walker Art Gallery, Liverpool. Derefter følger The Infants Christ and Saint John the Baptist Embracing (1525) og Madonna and Child (1525).
35 år gammel: The Virgin and Child with Angels er fra 1520, og Joos Van Cleve blev født i 1485.
The Virgin and Child with Angels, The Infants Christ and Saint John the Baptist Embracing, Madonna and Child, Portrait of a Woman, Madonna and Child in a Niche, Portrait of Young Man in a Black Hat, Portrait of a Young Man, The Virgin in Prayer, Mary with Child og Crucifixion. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 172 værker af Joos Van Cleve, dateret fra 1501 til 1540.
Primært i Städel Museum (Frankfurt), Kunsthistorisches Museum (Wien) og Bavarian State Painting Collections (München). Museumslisten ovenfor viser dem alle.
I 1520s: 51 af de 100 værker på denne side blev skabt dengang, herunder The Virgin and Child with Angels.
På denne side er det tidligste Assumption of Mary (1501) og det seneste Jesus and Saint John as infants embracing (1540).
Woman (60), Man (39) og Child (36), fordelt på de 100 værker på denne side.
Oil On Panel, for 75 af de 100 værker på denne side.
Northern renaissance, baseret på originalerne på denne side.
Madonna and Child, Madonna and Child in a Niche og Lamentation of Christ: Städel Museum, Frankfurt har 9 af værkerne på denne side.
I det travle, merkantile hjerte af det 16. århundredes Antwerpen var en ny æra af visuel historiefortælling ved at udfolde sig, drevet frem af penselstrøgene fra Joos van Cleve. Denne flamske renæssancemester, født omkring 1485 i Krefeld, Tyskland, trådte ikke blot frem som en maler med stor teknisk dygtighed, men som en visionær brobygger mellem to verdener. Hans karriere, der blomstrede fra cirka 1511 og frem til hans død i 1540, repræsenterer et dybtgående øjeblik i kunsthistorien, hvor de omhyggelige, detaljerede traditioner fra de nederlandske mestre mødte de vidstrakte, atmosfæriske innovationer, der strømmede fra den italienske renæssance. At betragte et værk af van Cleve er at være vidne til en delikat dans mellem Nordeuropas taktile virkelighed og Sydens idealiserede ynde.
Grundlaget for hans geni blev lagt i hans formative år under vejledning af Jan Joest. Denne strenge læretid gav ham mere end blot teknisk kunnen; den opslugte ham i de monumentale traditioner fra sengotikkens kunst. En af hans mest betydningsfulde tidlige oplevelser var arbejdet som assistent for Joest ved højalteret i Kalkar Nikolaikirche, et projekt, der krævede en forståelse for både storslået skala og åndelig tyngde. Gennem dette arbejde mestrede van Cleve den komplekse alkymi i pigmentforberedelse og den møjsommelige lagdeling af lasurer – teknikker, der senere gjorde det muligt for ham at besjæle sine portrætter med en livagtig lyskraft og sine religiøse scener med en mærkbar følelse af guddommelighed.
Det, der for alvor adskiller Joos van Cleve fra hans samtidige, var hans rastløse, eksperimenterende ånd. Mens mange kunstnere i perioden forblev bundet til de rigide stilistiske dogmer i deres lokale lav, søgte van Cleve mod horisonten. Han blev en pioner inden for flamsk manierisme, en stil karakteriseret ved en exceptionel følsomhed over for farver og en bemærkelsesværdig enhed mellem figurerne i en komposition. Hans måske mest varige bidrag til den nordlige renæssance var hans revolutionerende brug af landskabet. I stedet for at benytte statiske eller symbolske baggrunde, introducerede han vidstrakte, atmosfæriske udsigter, der pustede liv i hans motiver og skabte en følelse af dybde og kontinuitet mellem den menneskelige figur og den naturlige verden.
Denne stilistiske udvikling var dybt påvirket af de spirende tendenser i Italien. Ved at integrere elementer fra den italienske perspektivlære og en mere flydende, rytmisk tilgang til anatomien, transformerede han det traditionelle flamske portræt til noget langt mere psykologisk komplekst. Hans motiver var ikke længere blot ikoner for status; de besad et indre liv og en emotionel resonans, der inviterede beskueren ind i en tavs dialog. Denne evne til at formidle dybe menneskelige følelser gennem subtile ansigtsudtryk og delikate håndbevægelser forbliver en af hans mest fejrede bedrifter.
Arven efter Joos van Cleve er indgraveret i selve vævningen af Antverps guldalder. Som en central skikkelse i byens kunstneriske samfund blev hans værksted et fyrtårn for innovation, der påvirkede generationer af efterfølgende malere. Hans evne til at forene følgende elementer sikrede hans varige indflydelse på den europæiske kunsthistorie:
Selvom hans liv sluttede i 1540, fortsætter ekkoerne af hans kunstneriske virke med at genlyde. Joos van Cleve fulgte ikke blot sin tids trends; han var med til at definere dem og efterlod sig et værk, der står som et vidnesbyrd om den transformative kraft i kunstnerisk syntese. Hans malerier forbliver vedvarende vinduer ind i en periode med enorm kulturel transition, der indfanger det øjeblik, hvor middelalderens verden begyndte at opløses i den moderne æras lys.
