Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 30 værker af Simon Bening i vores katalog
Kort sagt
Af alle de originale værker, som Simon Bening efterlod, er det mest berømte The Seven Sorrows of the Virgin (1530), som er en del af samlingen på J. Paul Getty Museum i Los Angeles. Lige efter følger Landscape with St Jerome (1515) og Self-Portrait (1558). Vores katalog indeholder 30 værker af Simon Bening; galleriet har bevaret de 30 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
Simon Bening produced The Seven Sorrows of the Virgin in 1530. This miniature focuses on the spiritual suffering of the Virgin Mary, specifically the grief experienced throughout her life. The work is held within the J. Paul Getty Museum in Los Angeles, United States of America.
To gaze upon Simon Bening's Landscape with St Jerome is to step through a portal into the early sixteenth century, a world rendered with meticulous devotion and profound tranquility. This painting, executed in 1515, transcends mere depiction; it is an immersive experience of nature’s enduring peace. The composition immediately draws the eye into a pastoral dreamscape, anchored by the dramatic presence of a large rock formation on the left. This…
The miniature portrait of Simon Bening, created in 1558, is more than just a likeness; it's a meticulously crafted window into the mind and spirit of a master Flemish illuminator. Housed within the Metropolitan Museum of Art, this small panel – measuring a mere 9 x 6 centimeters – belies the profound depth of its artistic statement. Bening, a pivotal figure bridging the late Gothic and early Renaissance traditions, wasn’t…
Within the hushed reverence of the Musée du Louvre in Paris resides a miniature painting that transcends its diminutive size, offering an intimate glimpse into the life and artistic vision of Simon Bening. His “Self-Portrait,” created in 1535, is not merely a likeness; it’s a carefully constructed statement about identity, skill, and the burgeoning humanist ideals of the Renaissance. Measuring just 9 x 7 centimeters on vellum, this work embodies…
The morning air feels crisp and still as a small procession of villagers meanders along a winding path. They move with a rhythmic, steady purpose, their figures silhouetted against a landscape of rolling hills and skeletal trees. A soft, diffused light bathes the scene, suggesting the pale glow of a late winter morning. This is the season of Candlemas, and the flickering light held by the faithful seems to pierce…
To gaze upon this miniature is to enter a rarefied moment of profound spiritual confrontation. The scene captures the biblical narrative of The Temptation of Christ, an episode rich with theological weight and dramatic tension. It is not merely a depiction of temptation, but rather a visual meditation on divine will versus worldly allure. The composition masterfully frames Jesus, steadfast in his resolve, against the seductive whispers of the devil.…
The Pietà is a work by the Netherlandish artist Simon Bening. This miniature was created about 1522. Bening, who was born in Ghent (?) in 1483/84 and died in 1561 in Bruges, captured this sacred scene on a small scale. The image focuses on the heavy, quiet weight of the moment.
In Pentecost by Simon Bening, the composition organizes a multitude of figures within a structured architectural environment. The scene is set inside a space resembling a Gothic cathedral, where the geometry of the building provides a framework for the religious event. This architectural setting functions as a sacred space, grounding the spiritual narrative in a tangible, physical realm. The arrangement of the figures creates a sense of depth through overlapping…
Two distinct biblical narratives occupy these narrow, vertical panels, separated by a gold-colored border. In the left segment, John the Baptist preaches to a gathered assembly near the water's edge, framed by towering, lush green trees that emphasize the verticality of the composition. The right panel depicts the Baptism of Christ, where Jesus stands in the water with hands clasped in prayer while John reaches toward him. A white dove…
The composition is divided into two distinct registers. In the upper, larger scene, a woman identified as St. Gertrude de Nivelles sits within a wooden interior. She wears a black and white habit and a white wimple, with a golden halo encircling her head. Her hands are occupied with a drop spindle, spinning wool. The room is constructed of dark, grained wood, and several small black mice are scattered across…
Adoration of the Magi1520
12
Triptych of Virgin and Child; Saints Catherine and Barbara1520 · Museum of Fine Arts, Houston
13
Peter's Denial1527 · Getty Center
14
Christ Washing the Apostles' Feet1527 · Getty Center
15
Portrait of Henry III, Count of Nassau-Breda1550 · Gemäldegalerie
16
Book of Hours1530 · The Met Cloisters
17
Manuscript Leaf with Adoration of the Holy Name, from a Book of Hours1530
18
Henry III, Count of Nassau-Breda and Mencía de Mendoza1531 · Staatliche Museen zu Berlin
19
Scenes from the Creation
20
Penitent St Jerome1515 · Monasterio de San Lorenzo
21
Virgin and ChildMuseum of Fine Arts Ghent (MSK)
22
Jesus Among the Doctors1530 · J. Paul Getty Museum
23
The annunciation
24
Gathering twigs
25
The nativity
26
Villagers on Their Way to Church
27
Leaf from the Munich-Montserrat Hours
28
Prayer Book of Cardinal Albrecht of Brandenburg
29
Self-portrait1558
30
Calendar Miniatures from a Book of HoursJ. Paul Getty Museum
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 Simon Bening | Malerier fra denne liste |
|---|---|---|---|
 J. Paul Getty Museum |
Los Angeles | 5 | The Seven Sorrows of the Virgin, Villagers on Their Way to Church, The Temptation of Christ |
 Louvre |
Paris | 2 | Landscape with St Jerome, Self-Portrait |
 Metropolitan Museum of Art |
New York | 2 | Self-Portrait, Pietà |
 Getty Center |
Los Angeles | 2 | Peter's Denial, Christ Washing the Apostles' Feet |
 Museum Boijmans Van Beuningen |
Rotterdam | 1 | Pentecost |
 Groeningemuseum |
Brugge | 1 | John the Baptist preaching and the Baptism of Christ |
 Carnegie Museum of Art |
Pittsburgh | 1 | St. Gertrude de Nivelles, from the Hours of Cardinal Albrecht of Brandenburg (1490-1545), Archibishop and Elector of Mainz |
 Museum of Fine Arts, Houston |
Houston | 1 | Triptych of Virgin and Child; Saints Catherine and Barbara |
Vælg et årti for at se det originale værk, der definerer det.
To gaze upon Simon Bening's Landscape with St Jerome is to step through a portal into the early sixteenth century, a world rendered with meticulous devotion and profound tranquility. This painting, executed in 1515, transcends mere depiction; it is an immersive experience of nature’s enduring peace. The composition immediately draws the eye into a pastoral dreamscape, anchored by the dramatic presence of a large rock formation on the left. This…
The Pietà is a work by the Netherlandish artist Simon Bening. This miniature was created about 1522. Bening, who was born in Ghent (?) in 1483/84 and died in 1561 in Bruges, captured this sacred scene on a small scale. The image focuses on the heavy, quiet weight of the moment.
Simon Bening produced The Seven Sorrows of the Virgin in 1530. This miniature focuses on the spiritual suffering of the Virgin Mary, specifically the grief experienced throughout her life. The work is held within the J. Paul Getty Museum in Los Angeles, United States of America.
The miniature portrait of Simon Bening, created in 1558, is more than just a likeness; it's a meticulously crafted window into the mind and spirit of a master Flemish illuminator. Housed within the Metropolitan Museum of Art, this small panel – measuring a mere 9 x 6 centimeters – belies the profound depth of its artistic statement. Bening, a pivotal figure bridging the late Gothic and early Renaissance traditions, wasn’t…
The Seven Sorrows of the Virgin (1530), J. Paul Getty Museum, Los Angeles. Derefter følger Landscape with St Jerome (1515) og Self-Portrait (1558).
47 år gammel: The Seven Sorrows of the Virgin er fra 1530, og Simon Bening blev født i 1483.
The Seven Sorrows of the Virgin, Landscape with St Jerome, Self-Portrait, Self-Portrait, Villagers on Their Way to Church, The Temptation of Christ, Pietà, Pentecost, John the Baptist preaching and the Baptism of Christ og St. Gertrude de Nivelles, from the Hours of Cardinal Albrecht of Brandenburg (1490-1545), Archibishop and Elector of Mainz. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 30 værker af Simon Bening, dateret fra 1510 til 1558.
Primært i J. Paul Getty Museum (Los Angeles), Louvre (Paris) og Metropolitan Museum of Art (New York). Museumslisten ovenfor viser dem alle.
I 1530s: 7 af de 30 værker på denne side blev skabt dengang, herunder The Seven Sorrows of the Virgin.
På denne side er det tidligste John the Baptist preaching and the Baptism of Christ (1510) og det seneste Self-Portrait (1558).
People (5), Woman (4) og Figures (4), fordelt på de 30 værker på denne side.
Gouache, for 3 af de 30 værker på denne side.
Northern renaissance og Early netherlandish, baseret på originalerne på denne side.
The Seven Sorrows of the Virgin, Villagers on Their Way to Church og The Temptation of Christ: J. Paul Getty Museum, Los Angeles har 5 af værkerne på denne side.
I den delikate og lysende verden af flamsk illumination er få navne forbundet med så meget prestige som Simon Bening. Ofte hyldet som den sidste store mester af den nederlandske tradition, besad Bening en enestående evne til at transformere små overflader af pergament til ekspansive, levende landskaber og dybe spirituelle meditationer. Hans liv var dybt forankret i de lave landes rige kunstneriske arv; født i enten Gent eller Antwerpen, begyndte han sandsynligvis sin rejse i familiens værksted under vejledning af sin far, den ansete illuminator Alexander Bening. Denne slægtslinje gav ham et fundament af teknisk excellence, som i sidste ende gjorde det muligt for ham at lede et af de mest blomstrende værksteder i Brügge.
Som Bening bevægede sig gennem de kunstneriske knudepunkter Gent og Brügge, voksede hans ry i takt med hans mesterskab inden for miniaturemaleri. Ved 1508 var han officielt blevet medlem af Sankt Johannes- og Sankt Lukas-lauget i Brügge, et vidnesbyrd om hans status blandt den professionelle elite. Hans karriere var præget af en sømløs overgang mellem forgængernes sen-gotiske følsomhed og de spirende nuancer i den tidlige renæssance. Denne periode med kunstnerisk evolution er måske mest rørende indfanget i hans Selvportræt, et værk der tjener som meget mere end blot en lighed. I denne miniature præsenterer Bening sig selv ikke blot som håndværker, men som intellektuel, siddende foran et staffeli med briller i hånden – et symbolsk nik til den omhyggelige observation, som hans håndværk kræver, og en tilslutning til Sankt Lukas, malernes skytshelgen.
Den sande magi i Benings arbejde ligger i hans evne til at skabe "miniatureverdener", der inviterer beskueren ind i en tilstand af stille kontemplation. Hans Tidebog tjener som et fremragende eksempel på denne hengivne kunstneriskhed, hvor hver side fungerer som en bedende juvel, der er beregnet til at minde de troende om det guddommeliges overaltværende nærvær. Gennem en udsøgt manipulation af lys og skygge opnåede Bening en følelse af tredimensionalitet, der trodsede mediets lille skala. Hans teknik muliggjorde et åndeløst detaljeniveau, fra de subtile teksturer i luksuriøse stoffer til den atmosfæriske dybde i landskaber, der synes at strække sig langt ud over sidens rammer.
Ud over hans tekniske dygtighed findes Benings historiske betydning i hans rolle som en bro mellem epoker. Mens han opretholdt de stringente traditioner fra Gent-Brügge-skolen, omfavnede hans arbejde det nye humanistiske fokus på detaljen og naturalismen. Hans bedrifter afspejles i den vedvarende tilstedeværelse af hans værker i verdens mest prestigefyldte samlinger, hvor de fortsat tilbyder glimt ind i det 16. århundredes spirituelle og æstetiske sjæl. Gennem hans hænder nåede illuminationens forgængelige skønhed et højdepunkt af perfektion og efterlod en arv af lys, farve og dyb hengivenhed.
