Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 82 værker af Joachim Wtewael i vores katalog
Kort sagt
Af alle de originale værker, som Joachim Wtewael efterlod, er det mest berømte Actaeon is changed into a stag and killed by his own dogs (1607), som er en del af samlingen på Kunsthistorisches Museum i Wien. Lige efter følger Mars and Venus Surprised by Vulcan (1610) og Adoration by the Shepherds (1625). Vores katalog indeholder 82 værker af Joachim Wtewael; galleriet har bevaret de 77 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
The air in the wooded landscape feels heavy with the scent of damp earth and sudden, sharp terror. Actaeon, once a hunter of men and beasts, now finds himself the prey, caught in a moment of agonizing metamorphosis. His limbs, once sturdy and human, seem to ripple and shift under a skin that is no longer his own. The transformation into a stag is not a quiet change; it is…
Mars and Venus Surprised by Vulcan is a mythological painting by Joachim Wtewael. Executed in 1610, the work captures a moment of divine discovery. The scene centers on the theme of mythological adultery, specifically the instant Vulcan interrupts the illicit affair between Mars and Venus.
The scene unfolds within a courtyard where a group of thirteen figures has assembled around a central infant. This child lies in a manger, the focal point of the composition. Mary and Joseph are positioned near the baby, their bodies oriented toward the center of the event. Surrounding the holy family, several shepherds and onlookers are arranged in various states of standing and leaning. The figures are rendered with a…
The Adoration of the Shepherds by Joachim Wtewael brings a sacred moment into sharp, immediate focus. This religious painting emerges from the Netherlands, capturing a scene of profound spiritual presence. Joachim Wtewael, who was born in 1566 in Utrecht, Netherlands, infuses the work with a sense of immediate, lived experience. The figures cluster together in a tight, intimate space, their gazes and gestures pulling the viewer into the center of…
The artwork titled St John the Evangelist is a painting by the artist Joachim Wtewael. This specific work is dated 1591. The subject is depicted in a vertical composition, presented as a close-up portrait that focuses on the figure of the saint.
is an oil on copper by Joachim Wtewael. The work measures 15.8 by 20.4 cm. This small-scale painting exemplifies the technical precision required for such a compact medium.
In this oil on copper work from 1603, we find ourselves drawn into a lush, wooded landscape where the boundaries between the pastoral and the mythological blur. A group of nymphs dances in a rhythmic ring around a pond, their movements fluid and sinuous. This circular arrangement creates a sense of continuous motion, pulling the viewer's gaze toward the center of the composition. To the left, a muscular male figure…
The Wedding of Peleus and Thetis is a work by Joachim Wtewael. Born in Utrecht, Netherlands, in 1566, the artist remained tied to this city throughout his life until his death in 1638. His hand moved with a precision that mirrored the intricate details of his early training as a glassmaker and engraver. In this specific composition, he captures a moment of celestial gathering, where the air is thick with…
The work reflects the disciplined hand of a man trained in the traditions of engraving. There is a porcelain-like polish to the rendering of the skin, even within this monochromatic medium. The composition relies on the tension between the subject's worldly status—signified by the ornate armor—and his spiritual focus. The lines are sharp, defining the shape of the man against the receding, hazy hills. It is a portrait of a…
In "Adoration of the Shepherds" by Joachim Wtewael, the Nativity unfolds within a crowded, intimate space. Painted about 1598, the work centers on the Christ child, a small figure of light amidst the shadows. This divine presence acts as the anchor for the surrounding figures. Shepherds gather close, their bodies leaning toward the manger in a moment of quiet reverence. The scene is thick with the presence of others, creating…
Judith and the Head of Holofernes1597
12
The judgement of Paris1605 · Staatliche Kunsthalle Karlsruhe
13
Mars and Venus Surprised by Vulcan1601 · Mauritshuis Royal Picture Gallery
14
Mars, Venus and Cupid1601
15
The Marriage of Peleus and Thetis1610 · Rhode Island School of Design Museum of Art
16
judgement of Paris1614 · Det Kongelige Museum for Fin Kunst Antwerpen
17
Actaeon Watching Diana and Her Nymphs Bathing1612 · Museum of Fine Arts
18
John the Baptist Preaching in the Forest1618 · Statens Museum for Kunst
19
Saint Matthew1616 · Walters Art Museum
20
Susanna harassed by the Elders (Daniel 13:1-63)1612 · Museum Gouda
21
The Wedding of Peleus and Thetis1612
22
Portrait of Johan Pater, husband of Antonetta Wtewael, daughter of Joachim Wtewael1626 · Centraal Museum
23
Portrait of Johan Wtewael (1598-1652)1628 · Centraal Museum
24
The Meeting of David and Abigail1597 · Rijksmuseum
25
Lot and his daughters (Gen. 19:31-38)1700 · Centraal Museum
26
A Shepherd1623 · Harvard Art Museums
27
A Shepherdess1623 · Harvard Art Museums
28
Lot and his Daughters1600 · Hermitage Museum
29
The Judgment of Paris1615 · National Gallery
30
The Battle Between the Gods and the Titans1600 · Art Institute of Chicago
31
The Golden Age1605 · Metropolitan Museum of Art
32
The Golden Age (detail)1605 · Metropolitan Museum of Art
33
The Fruit and Vegetable Seller1618 · Centraal Museum
34
Portrait of a lady1605 · Pushkin State Museum of Fine Arts
35
Mars and Venus Discovered by the Gods1603
36
Portrait Of The Artist's Wife1601 · Centraal Museum
37
Martyrdom of Saint Sebastian1600 · Nelson-Atkins Museum of Art
38
The Judgment of Paris1605
39
Cephalus and Procris (The Death of Procris)1600 · Saint Louis Art Museum
40
Mars and Venus Surprised by Vulcan1601
41
The Annunciation to the Shepherds1606 · Rijksmuseum
42
The Tribute Money1616
43
The Temptation of Adam and Eve1614
44
Mars and Venus Surprised by Vulcan1611
45
The Judgement of Paris1615
46
Mars and Venus Surprised by the Gods1610 · J. Paul Getty Museum
47
Charity1627
48
A Kitchenmaid1625 · Centraal Museum
49
Moses Striking the Rock1624
50
Moses Striking the Rock1624 · National Gallery
51
Portrait of Eva Wtewael1628 · Centraal Museum
52
Peter Wtewael1628 · Centraal Museum
53
The Adoration of the Shepherds1606 · The Ashmolean Museum of Art and Archaeology
54
JUPITER ET DANAELouvre
55
The Judgement of ParisFitzwilliam Museum
56
Diana and Actaeon
57
Bacchus
58
Antonetta WtewaelCentraal Museum
59
LA RESURRECTION DE LAZAREPalais des Beaux-Arts de Lille
60
Venus and Cupid
61
Persée secourant AndromèdeLouvre
62
Lot and his Daughters1600 · Gemäldegalerie
63
The Golden Age1605 · Metropolitan Museum of Art
64
Self portrait1601 · Centraal Museum
65
Charity1627
66
Kitchen Scene1605 · Gemäldegalerie
67
Supper at Emmaus
68
Adoration of the Shepherds (detail)
69
Aphrodite Ares and Eros Sun
70
Adoration by the Shepherds
71
Bacchus between Ceres and Venus
72
Diana
73
DanaëStaatliche Graphische Sammlung
74
Adam and Eve
75
The Raising of Lazarus
76
Lot and His Daughters
77
Perseus and Andromeda1611 · Louvre
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 Joachim Wtewael | Malerier fra denne liste |
|---|---|---|---|
 Centraal Museum |
Utrecht | 13 | Banquet of the Gods, Portrait of Steven de Witt (?-1571), Adoration of the Shepherds |
 Rijksmuseum |
Amsterdam | 3 | Mars and Venus Surprised by Vulcan, The Meeting of David and Abigail, The Annunciation to the Shepherds |
 Metropolitan Museum of Art |
New York | 3 | The Golden Age, The Golden Age (detail), The Golden Age |
 Louvre |
Paris | 3 | JUPITER ET DANAE, Persée secourant Andromède, Perseus and Andromeda |
 Kunsthistorisches Museum |
Wien | 2 | Actaeon is changed into a stag and killed by his own dogs, Adoration of the Shepherds |
 Harvard Art Museums |
Cambridge | 2 | A Shepherd, A Shepherdess |
 National Gallery |
London | 2 | The Judgment of Paris, Moses Striking the Rock |
 Gemäldegalerie |
Berlin | 2 | Lot and his Daughters, Kitchen Scene |
Vælg et årti for at se det originale værk, der definerer det.
The artwork titled St John the Evangelist is a painting by the artist Joachim Wtewael. This specific work is dated 1591. The subject is depicted in a vertical composition, presented as a close-up portrait that focuses on the figure of the saint.
The air in the wooded landscape feels heavy with the scent of damp earth and sudden, sharp terror. Actaeon, once a hunter of men and beasts, now finds himself the prey, caught in a moment of agonizing metamorphosis. His limbs, once sturdy and human, seem to ripple and shift under a skin that is no longer his own. The transformation into a stag is not a quiet change; it is…
Mars and Venus Surprised by Vulcan is a mythological painting by Joachim Wtewael. Executed in 1610, the work captures a moment of divine discovery. The scene centers on the theme of mythological adultery, specifically the instant Vulcan interrupts the illicit affair between Mars and Venus.
The scene unfolds within a courtyard where a group of thirteen figures has assembled around a central infant. This child lies in a manger, the focal point of the composition. Mary and Joseph are positioned near the baby, their bodies oriented toward the center of the event. Surrounding the holy family, several shepherds and onlookers are arranged in various states of standing and leaning. The figures are rendered with a…
Actaeon is changed into a stag and killed by his own dogs (1607), Kunsthistorisches Museum, Wien. Derefter følger Mars and Venus Surprised by Vulcan (1610) og Adoration by the Shepherds (1625).
41 år gammel: Actaeon is changed into a stag and killed by his own dogs er fra 1607, og Joachim Wtewael blev født i 1566.
Actaeon is changed into a stag and killed by his own dogs, Mars and Venus Surprised by Vulcan, Adoration by the Shepherds, Adoration of the Shepherds, St John the Evangelist, Banquet of the Gods, The Apulian Shepherd, The Wedding of Peleus and Thetis, Portrait of Steven de Witt (?-1571) og Adoration of the Shepherds. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 82 værker af Joachim Wtewael, dateret fra 1591 til 1628.
Primært i Centraal Museum (Utrecht), Rijksmuseum (Amsterdam) og Metropolitan Museum of Art (New York). Museumslisten ovenfor viser dem alle.
I 1600s: 24 af de 77 værker på denne side blev skabt dengang, herunder Actaeon is changed into a stag and killed by his own dogs.
På denne side er det tidligste St John the Evangelist (1591) og det seneste Portrait of Johan Wtewael (1598-1652) (1628).
Man (11), Mythology (11) og Gods (10), fordelt på de 77 værker på denne side.
Oil On Canvas, for 13 af de 77 værker på denne side.
Northern mannerism, baseret på originalerne på denne side.
Banquet of the Gods, Portrait of Steven de Witt (?-1571) og Adoration of the Shepherds: Centraal Museum, Utrecht har 13 af værkerne på denne side.
Joachim Wtewael, et navn der hviskes blandt kenderne af den hollandske guldalder, forbliver en fængslende skikkelse, hvis kunst trodser enhver nem kategorisering. Født i 1566 og gået bort i 1638, var hans liv lige så mangefacetteret som hans lærreder. Mens hans kunstneriske geni strålede klart, er det lige så bemærkelsesværdigt, at han også var en succesfuld hørkøbmand og et aktivt byrådsmedlem i Utrecht. Denne dobbelte eksistens—den omhyggelige håndværker side om side med samfundets støttepille—tyder på en mand, hvis liv krævede både verdslig snilde og et dybt kreativt fokus. Wtewaels signaturstil besad dog en bemærkelsesværdig konsistens; den forblev i vid udstrækning uberørt af de omfattende naturalistiske strømninger, der omformede kunsten over hele Europa i hans levetid.
Wtewaels tidlige uddannelse forankrede ham dybt i det sofistikerede sprog fra det sene 16. århundredes Haarlem-manierisme. Hans første professionelle år blev tilbragt som glarmester og graver i sin fars værksted, et læretid, der uden tvivl har finpudset hans evne til at mestre de mest indviklede detaljer. En skelsættende periode indtraf, da han i 1586 begav sig ud på rejser gennem Italien og Frankrig. Disse ophold var afgørende, da de eksponerede ham for de rige kunstneriske strømninger fra den anden skole i Fontainebleau. Men på trods af disse indflydelser besad Joachim Wtewael et unikt indre kompas. Hans værker er kendetegnet ved figurer, der er mesterligt udført med en næsten porcelænsagtig glans, ofte arrangeret i positurer, der føles vidunderligt lunefulde og dramatisk ladede.
Hans overleverede værker—som omfatter omkring hundrede malerier samt adskillige tegninger og glasmalerier—afslører en fascinerende tematisk dualitet. Han følte sig lige så hjemme i skildringen af dybe religiøse fortællinger, som han gjorde i fejringen af den frodige dramatik i den klassiske mytologi. Betragt værker som Hyrdernes tilbedelse stillet over for Venus og Mars overrasket af Vulcan. Disse værker udviser hans bemærkelsesværdige evne til at væve konventionelle hellige motiver sammen med hedensk overtro, hvilket ofte gennemstrømmer begge verdener med en mærkbar, til tider intens erotisk undertone, der drager beskueren ind i sit fortællende favntag. Hans sans for detaljen er intet mindre end åndeløs; i værker som Perseus og Andromeda, som blandt andet findes på Mauritshuis-museet i Utrecht, kan man tydeligt spore hans uovertrufne tekniske snilde.
Det, der gør Joachim Wtewael så betydningsfuld, er netop hans modstand mod forandring. Mens naturalismen lokkede kunstnere mod en større realisme, holdt Wtewael fast i en poleret og idealiseret æstetik, hvilket skabte et værk, der føles både historisk forankret og evigt levende. Hans kabinetmalerier, udført på kobberplader, er særligt karakteristiske og talrige, og de tilbyder intime indblik i hans kunstneriske proces. Selvom det sidste årti af hans liv var præget af, at han trak sig tilbage fra maleriet—en periode, der muligvis var mærket af personlig sorg efter hustruens død—lever kraften i hans vision videre. Han har skænket kunsthistorien en stil, der forbliver både yderst forfinet og vidunderligt uforudsigelig.
