Portræt af Mattheus Verheyden

Mattheus Verheyden malerier: De 18 mest berømte, set gennem et galleris øjne

Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 18 værker af Mattheus Verheyden i vores katalog

Kort sagt

I galleriets øjne er Mattheus Verheydens mest berømte maleri Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 (1750), hvis original hænger på Rijksmuseum i Amsterdam. Portrait of Charlotte Beatrix Strick van Linschoten (1755) og Portret van Maria Hartmans de Custere (1755) fuldender trioen, som ethvert øje genkender. Ud af de 18 værker af Mattheus Verheyden i vores katalog præsenterer galleriet herunder de 18 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.

1700 – 1777, Breda Baroque Flest værker: Rijksmuseum

Galleriets top 10 Mattheus Verheyden malerier

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Portrait of Charlotte Beatrix Strick van Linschoten (1755) af Mattheus Verheyden

Portrait of Charlotte Beatrix Strick van Linschoten

1755 · Oil On Canvas · Rijksmuseum, Amsterdam

The Portrait of Charlotte Beatrix Strick van Linschoten is an oil on canvas work by the Dutch artist Mattheus Verheyden. Painted about 1755, the portrait captures a woman of significant social standing. Charlotte van Linschoten was the second wife of Gerard Cornelis van Riebeeck. She is presented to the viewer in full finery, her presence defined by the heavy, structured elegance of her era.

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Portret van Maria Hartmans de Custere (1755) af Mattheus Verheyden

Portret van Maria Hartmans de Custere

1755 · Oil On Canvas · Rijksmuseum, Amsterdam

A single column of fluted stone rises behind Maria Hartmans de Custere, a rigid verticality that anchors the composition. She stands in three-quarter profile, her silhouette a dark, flowing shape against the architectural stillness. The light enters from the upper left, a directional beam that catches the pale skin of her neck and the crisp, white linen of her collar. This brightness acts as a focal point, a sharp contrast…

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Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind (1728) af Mattheus Verheyden

Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind

1728 · Oil On Canvas · Rijksmuseum, Amsterdam

The room falls away into a deep, velvet darkness, leaving only the soft glow of light upon two figures. Charlotte Maria Leidecker sits with a quiet dignity, her presence defined by the heavy, lustrous folds of her gown. The fabric catches the light, revealing the sheen of silk or satin, while the shadows settle deeply into the creases of her clothing. Beside her, a child rests, a small presence that…

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Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange (1755) af Mattheus Verheyden

Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange

1755 · Oil On Canvas · Rijksmuseum, Amsterdam

In this formal portrait, the Dutch painter Mattheus Verheyden captures the presence of Willem Kettingh (d 1670). Kettingh, who held the significant positions of Chief Treasurer and Bailiff of the Prince of Orange, meets the viewer's gaze from a position of quiet authority. The work, dated about 1755, presents a man whose life and status are etched into his very posture. He stands with a dignified air, his figure framed…

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Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck (1750) af Mattheus Verheyden

Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck

1750 · Oil On Canvas · Rijksmuseum, Amsterdam

In this 1750 portrait, we encounter the Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck. The artist, Mattheus Verheyden, captures the subject with a quiet, dignified presence that defines much of his body of work. Verheyden, who was born in Breda, Netherlands, developed a refined skill for documenting the likenesses of the era's social elite. This particular work focuses on Agnes Margaretha Albinus, who lived from 1713 to…

Mattheus Verheydens malerier, rangeret fra 11 til 18

Motiverne, der fangede Mattheus Verheydens blik

De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.

De museer, der udstiller Mattheus Verheydens originalværker

De 7 museer, der rummer flest af malerierne på denne side.

Museum By Værker af Mattheus Verheyden Malerier fra denne liste
Rijksmuseum, AmsterdamRijksmuseum Amsterdam 8 Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750, Portrait of Charlotte Beatrix Strick van Linschoten, Portret van Maria Hartmans de Custere
Huis Zypendaal, ArnhemHuis Zypendaal Arnhem 2 Portrait of Frederik Willem Torck (1691-1761), Portrait of Jacoba Maria van Wassenaer van Duvenvoorde (1709-1771)
Museum Het Valkhof, NijmegenMuseum Het Valkhof Nijmegen 2 Portrait of Anna Martina van Benthem (1700-1793), Portrait of Christoffel van den Bergh (1702-1762)
Dordrechts Museum, DordrechtDordrechts Museum Dordrecht 2 Portrait of Catherina Johanna Braets, née Van den Santheuvel, Portrait of Adriaen Braets van Geervliet (1689-1747)
Museum Rotterdam, RotterdamMuseum Rotterdam Rotterdam 1 Portrait of (possibly) Charlotte Bernaige (1719-1777)
Centraal Museum, UtrechtCentraal Museum Utrecht 1 Portrait of Aletta Lucretia Martens (1715-1782). Wife of Antonie Francois Godin
Museum Martena, WaadhoekeMuseum Martena Waadhoeke 1 Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange, Mattheus Verheyden, c. 1755

Mattheus Verheyden, ét signaturmaleri per årti

Værker per årti

Vælg et årti for at se det originale værk, der definerer det.

Mattheus Verheyden's malerier: galleriets svar

Hvilket maleri af Mattheus Verheyden er det mest berømte af alle?Vis svaret

Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 (1750), Rijksmuseum, Amsterdam. Derefter følger Portrait of Charlotte Beatrix Strick van Linschoten (1755) og Portret van Maria Hartmans de Custere (1755).

Hvor gammel var Mattheus Verheyden, da Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 blev færdiggjort?Vis svaret

50 år gammel: Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 er fra 1750, og Mattheus Verheyden blev født i 1700.

Hvilke er Mattheus Verheydens top 10 malerier?Vis svaret

Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750, Portrait of Charlotte Beatrix Strick van Linschoten, Portret van Maria Hartmans de Custere, Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind, Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange, Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck, Portrait of Frederik Willem Torck (1691-1761), Portrait of Jacoba Maria van Wassenaer van Duvenvoorde (1709-1771), Portrait of (possibly) Charlotte Bernaige (1719-1777) og Portrait of Aletta Lucretia Martens (1715-1782). Wife of Antonie Francois Godin. Ranglisten ovenfor viser det enkelte værks årstal og museum.

Hvor mange værker skabte Mattheus Verheyden?Vis svaret

Vores katalog indeholder 18 værker af Mattheus Verheyden, dateret fra 1728 til 1762.

Hvor hænger Mattheus Verheydens mest berømte originaler?Vis svaret

Primært i Rijksmuseum (Amsterdam), Huis Zypendaal (Arnhem) og Museum Het Valkhof (Nijmegen). Museumslisten ovenfor viser dem alle.

Hvornår skabte Mattheus Verheyden sine mest berømte malerier?Vis svaret

I 1750s: 10 af de 18 værker på denne side blev skabt dengang, herunder Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750.

Hvilke er Mattheus Verheydens tidligste og seneste berømte værker?Vis svaret

På denne side er det tidligste Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind (1728) og det seneste Portrait of Christoffel van den Bergh (1702-1762) (1762).

Hvilke motiver vendte Mattheus Verheyden oftest tilbage til?Vis svaret

Woman (4), Landscape (3) og Lace (2), fordelt på de 18 værker på denne side.

Hvilket medie arbejdede Mattheus Verheyden mest med?Vis svaret

Oil On Canvas, for 5 af de 18 værker på denne side.

Hvilken stilart er Mattheus Verheyden associeret med?Vis svaret

Baroque, baseret på originalerne på denne side.

Hvilke originalværker af Mattheus Verheyden findes i Rijksmuseum?Vis svaret

Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750, Portrait of Charlotte Beatrix Strick van Linschoten og Portret van Maria Hartmans de Custere: Rijksmuseum, Amsterdam har 8 af værkerne på denne side.

Mattheus Verheyden: kunstneren

A Life Etched in Likeness: The World of Mattheus Verheyden

Mattheus Verheyden, born in the Dutch city of Breda in 1700, emerged as a significant, though often understated, voice within the tradition of 18th-century portraiture. His life story is one marked by early hardship and nurtured talent, ultimately blossoming into a career dedicated to capturing the essence of his era’s elite. Orphaned at a young age – losing his mother in infancy and his father, also a painter named Franck Pietersz Verheyden, before receiving formal instruction from him – Mattheus' artistic path was initially uncertain. Remarkably, he began painting at the tender age of seventeen, demonstrating an innate aptitude that would soon be recognized and fostered by the civic authorities of Breda. Becoming a ward of the city following his father’s death in 1711, Verheyden was granted the opportunity to study with leading artists of the time, setting the stage for a career defined by refined skill and perceptive observation.

Formative Years and Artistic Influences

Verheyden's artistic education was carefully orchestrated, reflecting a commitment to providing him with a well-rounded foundation in the prevailing styles. His initial training took place under Hendrik Carré II in The Hague, where he honed his compositional abilities and developed an eye for detail. This period was followed by diligent study of the works of Constantijn Netscher, whose refined brushwork and elegant aesthetic left a lasting impression on Verheyden’s own style. He also immersed himself in the paintings of Carel de Moor and Augustinus Terwesten II, absorbing their mastery of classical portraiture techniques. These influences weren't merely imitative; rather, Verheyden synthesized them into a unique artistic voice, blending Baroque sensibilities with an emerging Rococo grace. The impact of these masters is visible in his meticulous attention to texture, the subtle play of light and shadow, and the ability to convey both physical likeness and psychological depth within his portraits.

A Portraitist of Breda and Beyond

By 1722, Verheyden contemplated a journey to England, but paused in Amsterdam to accept portrait commissions – a testament to his growing reputation even at this early stage. He ultimately returned to Breda, fulfilling obligations to the regents who had supported his education and settling his inheritance. However, it was in Breda that he found both artistic fulfillment and personal happiness, falling in love with Margareta Kraeimes and choosing marriage over a transatlantic voyage. This decision cemented his commitment to serving as the primary portraitist for the leading citizens of Breda and, increasingly, The Hague. He meticulously documented his subjects – a practice partially preserved through records compiled by Johan van Gool – painting prominent figures such as François van Aerssen, Lord of Sommelsdijk (1728), Coenraad van Heemskerck, Count of the Holy Roman Empire (1750), and Gerard Cornelis van Riebeeck (1755). These works weren’t simply exercises in representation; they were statements of social standing, carefully constructed images designed to project power, wealth, and refinement.

Style, Legacy, and Historical Context

Verheyden's style is characterized by a refined elegance and an unwavering commitment to realism. He possessed a remarkable ability to capture not only the physical features of his sitters but also their individual personalities and social status. His portraits are often distinguished by rich fabrics, sophisticated poses, and a masterful use of light and shadow to create depth and dimension. While primarily focused on portraiture – reflecting the strong demand for such paintings among the Dutch elite – Verheyden rarely ventured into other genres. He was a member of the Confrerie Pictura until 1762, an organization that fostered artistic collaboration and recognition within The Hague’s vibrant art scene. Though perhaps not as widely celebrated as some of his contemporaries, Mattheus Verheyden played a crucial role in preserving the visual memory of influential figures during a pivotal period in Dutch history. His portraits offer invaluable insights into the social and political landscape of the 18th century, representing a continuation of the esteemed Dutch portrait tradition with skill, artistry, and an enduring sense of grace.