Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 18 værker af Romeyn de Hooghe i vores katalog
Kort sagt
Nova Totius Terrarium Orbis er det maleri af Romeyn de Hooghe, der fanger flest blikke. Derefter falder blikket på Allegory of coinage (1689) og The City of Alkmaar Swears Allegiance to the Virgin of Holland (1694). Blandt de 18 værker af Romeyn de Hooghe i vores katalog er disse 18 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
The gaze meets Nova Totius Terrarium Orbis, a work that breathes with the spirit of 17th-century cartographic art. Romeyn de Hooghe, the hand behind this intricate creation, brings a sense of vastness to the parchment. Born in Amsterdam in 1645, the artist carries the meticulous traditions of the Netherlands into every line and contour. This piece exists as a window into an era when the boundaries of the known world…
The Allegory of coinage is an oil on canvas work by the Dutch artist Romeyn de Hooghe. Created in 1689, the painting presents a grand, theatrical scene centered on a singular, powerful figure. This central woman is Moneta of Holland, the personification of money, seated in a position of authority. She acts as the focal point for a complex world of commerce and metal, receiving tributes from distant lands to…
The City of Alkmaar Swears Allegiance to the Virgin of Holland is a work by Romeyn de Hooghe, dating to about 1694. Born in Amsterdam, de Hooghe was a versatile figure of the late Dutch Baroque period. His technical expertise spanned painting, sculpture, engraving, and etching. He was also recognized as a skilled medalist and a prolific caricaturist.
Romeyn de Hooghe’s “Battle of Narva on 19 November 1700” isn't merely a depiction of a historical event; it’s a visceral plunge into the heart of conflict, a meticulously rendered tableau of chaos and consequence. Created in 1700, during the tumultuous Great Northern War, this monumental etching captures a pivotal moment – the Swedish victory against a vastly superior Russian force – with an intensity that transcends simple illustration. De…
In the delicate interplay of ink and imagination, Romeyn de Hooghe’s Map of Jerusalem serves as more than a mere geographical record; it is a window into a vanished era of spiritual and historical reverence. Created around 1700, this exquisite work transcends the boundaries of traditional cartography to offer a breathtaking panoramic view of one of the world's most storied landscapes. As the eye wanders across the canvas, it encounters…
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 4 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Romeyn de Hooghe | Malerier fra denne liste |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 1 | Allegory of coinage |
 Stedelijk Museum |
Alkmaar | 1 | The City of Alkmaar Swears Allegiance to the Virgin of Holland |
 Hermitage Museum |
Sankt Petersborg | 1 | Battle of Narva on 19 November 1700 |
 Nationalbiblioteket i Israel |
Jerusalem | 1 | Map of Jerusalem |
Vælg et årti for at se det originale værk, der definerer det.
The Allegory of coinage is an oil on canvas work by the Dutch artist Romeyn de Hooghe. Created in 1689, the painting presents a grand, theatrical scene centered on a singular, powerful figure. This central woman is Moneta of Holland, the personification of money, seated in a position of authority. She acts as the focal point for a complex world of commerce and metal, receiving tributes from distant lands to…
The City of Alkmaar Swears Allegiance to the Virgin of Holland is a work by Romeyn de Hooghe, dating to about 1694. Born in Amsterdam, de Hooghe was a versatile figure of the late Dutch Baroque period. His technical expertise spanned painting, sculpture, engraving, and etching. He was also recognized as a skilled medalist and a prolific caricaturist.
Romeyn de Hooghe’s “Battle of Narva on 19 November 1700” isn't merely a depiction of a historical event; it’s a visceral plunge into the heart of conflict, a meticulously rendered tableau of chaos and consequence. Created in 1700, during the tumultuous Great Northern War, this monumental etching captures a pivotal moment – the Swedish victory against a vastly superior Russian force – with an intensity that transcends simple illustration. De…
Nova Totius Terrarium Orbis. Derefter følger Allegory of coinage (1689) og The City of Alkmaar Swears Allegiance to the Virgin of Holland (1694).
Nova Totius Terrarium Orbis, Allegory of coinage, The City of Alkmaar Swears Allegiance to the Virgin of Holland, Battle of Narva on 19 November 1700, Map of Jerusalem, Piction Of The Battle Of Öland, Siege Of Buda, Kommende Ramersdorf, Plan Exact Des Fortifications Du Chateau De Choczim Sur Le Niester og Statue Of Laurens Jansz. Coster. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 18 værker af Romeyn de Hooghe, dateret fra 1689 til 1700.
Primært i Rijksmuseum (Amsterdam), Stedelijk Museum (Alkmaar) og Hermitage Museum (Sankt Petersborg). Museumslisten ovenfor viser dem alle.
I 1700s: 2 af de 18 værker på denne side blev skabt dengang, herunder Battle of Narva on 19 November 1700.
På denne side er det tidligste Allegory of coinage (1689) og det seneste Battle of Narva on 19 November 1700 (1700).
Woman (2), Man (2) og Engraving (2), fordelt på de 18 værker på denne side.
Painting, for 2 af de 18 værker på denne side.
Baroque, baseret på originalerne på denne side.
Romeyn de Hooghe (1645-1708) stands as a monumental figure in the annals of Dutch Baroque art, recognized not merely for his artistic skill but for his unparalleled contribution to political satire and visual propaganda. Born in Amsterdam during a period marked by intense religious and political upheaval—the Eighty Years’ War against Spain continuing its grip on the Netherlands—de Hooghe emerged from humble beginnings as a skilled etcher, draughtsman, painter, sculptor, and medalist. He rapidly ascended to prominence within the artistic landscape of his time, driven by a prolific output that exceeded 3500 prints. This vast body of work cemented his legacy as arguably the first modern graphic satirist, shaping public opinion and documenting pivotal moments in Dutch history with an unflinching honesty and an inventive, often biting, artistry.
De Hooghe’s formative years instilled a meticulous attention to detail and an unwavering dedication to craft. Trained initially in classic languages—a testament to the humanist ideals prevalent during his era—his artistic inclinations soon superseded academic pursuits, propelling him toward mastering various techniques. He honed his etching skills under the tutulence of Jacob Savertijns, gaining invaluable experience in capturing nuanced tonal gradations and conveying profound emotion through intricate line work. This foundational training would prove instrumental in shaping his distinctive style, characterized by dramatic contrasts of light and dark, a hallmark that distinguishes his oeuvre from his contemporaries and allows his subjects to emerge with a startling, almost theatrical presence.
The trajectory of de Hooghe’s career intersected decisively with the escalating tensions between the Dutch Republic and France under Louis XIV. This confrontation, fueled by religious differences and territorial ambitions, provided the perfect stage for his burgeoning talent as a commentator. Recognizing the potent communicative power of visual imagery, he embraced caricature as his primary medium, transforming it into a weapon of intellectual dissent. Through his engravings, he could reach a broad audience, using sharp wit and grotesque imagery to mock the ambitions of foreign monarchs and champion the cause of Dutch sovereignty.
His work was never merely decorative; it was deeply embedded in the geopolitical struggles of the late 17th century. Whether depicting the chaos of war or the intricate details of a changing world, his hand was always present to guide the viewer's perception. His mastery extended beyond simple satire into the realm of grand historical documentation and cartography:
The historical significance of Romeyn de Hooghe lies in his ability to bridge the gap between fine art and mass communication. He was a pioneer who understood that an image could move a nation more effectively than a manifesto. By blending the technical sophistication of the Dutch Baroque—the mastery of light, the precision of the etching needle, and the depth of composition—with the subversive energy of political satire, he created a new genre of visual journalism. His work served as both a mirror to the anxieties of his age and a hammer used to shape the political landscape of the Dutch Republic.
Even today, de Hooghe’s prints remain vital historical documents. They offer more than just aesthetic beauty; they provide a window into the psyche of a people navigating the birth of modern nation-states. His ability to oscillate between the microscopic detail of a cityscape and the macroscopic drama of an international war ensures that his name remains etched in the history of art as much as it is in the history of politics. He remains a master of the line, a chronicler of truth, and a true prophet of liberty.
