Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 105 værker af Willem Maris i vores katalog
Kort sagt
Eenden, Willem Maris, c. 1880 - c. 1904 (1904) er det maleri af Willem Maris, der vækker mest opsigt; originalen findes på Rijksmuseum, Amsterdam. Derefter falder blikket på The calves (1863) og Bulls on a Rocky Coast (1864). Blandt de 105 værker af Willem Maris i vores katalog er disse 100 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The scene unfolds in Bulls on a Rocky Coast, a work painted by Willem Maris around 1864. This landscape captures a rugged moment along a sandy coastline, where the heavy presence of animals meets the vastness of the sky. The composition rests upon the quiet strength of the subjects as they navigate the uneven terrain of the shore.
In "Donkeys on the beach" by Willem Maris, a horizontally oriented landscape unfolds to reveal a quiet moment of rural coastal life. The scene begins in the foreground, where a grassy dune area dominates the view. Here, several donkeys gather, their forms grounding the composition amidst the undulating shapes of the dunes. The arrangement of these animals creates an immediate sense of presence, as if the viewer has just stumbled…
We are looking at Boys herding donkeys, a work by the Dutch painter Willem Maris. This piece dates to 1865, a period when the artist was refining his ability to capture the specific atmosphere of the Low Countries. It is a substantial canvas, measuring 90.3 x 138.0cm.
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The air feels heavy with moisture, a damp stillness that clings to the grass and the heavy coats of the cattle. In this meadow, the light does not simply shine; it filters through a thick, overcast sky, casting a soft, silvery glow over the landscape. A single white cow stands in profile, its form partially swallowed by the deep shadows of dense foliage and dark trees that crowd the right…
The scene opens on a damp polder, where the earth meets the sky in a soft, silvered blur. Several cows are scattered across the meadow, their heavy bodies anchored in the lush, green grass. Some graze in the foreground, their forms solid and tactile, while others recede into the distance, becoming mere shapes against the horizon. A single horse stands toward the right, a quiet addition to the pastoral rhythm.…
The scene unfolds in Ducks Alighting On A Pool, a work that captures a fleeting moment of movement and stillness. Here, the artist Willem Maris invites us to witness the quiet rhythm of nature as waterfowl descend toward the water's surface. The composition centers on these birds, their wings perhaps still catching the light as they settle into the tranquil environment of the woods.
The ferry1859 · Dordrechts Museum
12
Study after nature1863 · The Mesdag Collection
13
White cow at the ditch1877 · Amsterdam Museum
14
Ducks at the edge of the ditch1877 · Rijksmuseum
15
Landscape with Cows1884 · Rijksmuseum Twenthe
16
Meadow Landscape1884 · Groninger Museum
17
Farmer's Wife with Cattle near a Small River (Summer Day)1880 · Museum Boijmans Van Beuningen
18
Under the willows1884 · Amsterdam Museum
19
Ducks bear the water1884 · Amsterdam Museum
20
Cows at evening1884 · Kunstmuseum Den Haag
21
Duck heaven1885 · Kunstmuseum Den Haag
22
Cattle at a watering place1885 · Museum Boijmans Van Beuningen
23
Rowboat in a ditch.1882 · Rijksmuseum
24
Early morning1883 · Museum Boijmans Van Beuningen
25
Cow1887
26
Cows at a Pond1891 · Dordrechts Museum
27
Ducks in the Grass near a Ditch1890 · Museum Boijmans Van Beuningen
28
Summer1897 · Dordrechts Museum
29
Meadow with cows1895 · Rijksmuseum
30
Cow at water's edge1895 · Rijksmuseum
31
Landscape with ditch and cattle1900 · Centraal Museum
32
Cows in a Soggy Meadow, Willem Maris, 1860 - 19001900 · Rijksmuseum
33
Koeien, Willem Maris, 1880 - 19041904 · Rijksmuseum
34
Landscape With Cattle
35
A Summer Day At A Canal Near The Hague
36
Eendjes, Willem Maris, c. 1880 - c. 19071907 · Rijksmuseum
37
Witte eend met kiekens, Willem Maris, 1880 - 19101910 · Rijksmuseum
38
White Cow, Willem Maris, c. 1880 - c. 19101910 · Rijksmuseum
39
A Farmer's Wife With Grazing Cows
40
A Family Of Ducks
41
Winterlandschap, Willem Maris, c. 18751875 · Rijksmuseum
42
Milking TimeSaint Louis Art Museum
43
Cows at a Watering PlaceMuseum of Fine Arts Ghent (MSK)
44
River Landscape with CattleMuseum of Fine Arts
45
Cattle By The River
46
Cows Watering In A Polder Landscape
47
Dutch Landscape
48
Cows In A Dutch Polder Landscape
49
A Dutch River Scene With Sailing Boats
50
Calves at a PondKunstmuseum Den Haag
51
Cows In A Pasture With Two Windmills
52
A View Of A Dutch Canal
53
Cows Near The Waterfront
54
Cattle Grazing
55
The View
56
Cows By The Waters' Edge
57
A Watering Cow
58
Ducks, Spring
59
Cows At Pasture
60
Cows In The Summer Sun
61
Watering Cows In A Polder Landscape
62
A Dutch Landscape
63
Cattle Grazing at the Water's EdgeMinneapolis Institute of Art
64
Cows In A Polder Landscape
65
Cows Grazing On The Waterfront
66
A Summer Landscape With Cattle And Windmills
67
Watering The Cows
68
Ducks And Their Ducklings
69
Ducks And Ducklings On A Riverbank
70
Copy After P. Potter
71
Portrait Of A Woman
72
Cows In Dutch Polder Landscape
73
Company Of Fishermen
74
A Cow At Pasture
75
Ducks In A Meadow
76
Watering Cows
77
Tending The Cows
78
A Cow Near The Waterfront
79
Ducks By A Ditch
80
The Water's Edge
81
Landscape With Cattle
82
Cows In A Wooded Landscape
83
Cattle
84
Ducks
85
Chicken In A Stable
86
Ducks In A Pond
87
A Herdboy With Donkeys On Scheveningen Beach
88
Young Girl In A Landscape
89
Ducks On The Waterfront
90
Cattle In A Sunlit Glade
91
A Polder Landscape
92
Landscape With Cattle And WindmillsTe Whare O Rehua Sarjeant Gallery
93
Boy With A Pike
94
Milking Time
95
Portrait Of A Girl
96
Ducks In The Grass
97
Dead Bird
98
A Calf Drinking From A Pond
99
A Family Of Ducks By The Water
100
A Silver StreamScottish National Gallery
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 Willem Maris | Malerier fra denne liste |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 14 | Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows |
 Kunstmuseum Den Haag |
Hague | 5 | Donkeys on the beach, Boys herding donkeys, Cows at evening |
 Amsterdam Museum |
Amsterdam | 4 | Feeding of the Calves, White cow at the ditch, Under the willows |
 Museum Boijmans Van Beuningen |
Rotterdam | 4 | Farmer's Wife with Cattle near a Small River (Summer Day), Cattle at a watering place, Early morning |
 Dordrechts Museum |
Dordrecht | 3 | The ferry, Cows at a Pond, Summer |
 The Mesdag Collection |
Haag | 2 | The calves, Study after nature |
 Groninger Museum |
Groningen | 2 | Bulls on a Rocky Coast, Meadow Landscape |
 National Gallery |
London | 1 | Ducks Alighting On A Pool |
Vælg et årti for at se det originale værk, der definerer det.
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
A white duck with seven chicks by the ditch side.
Eenden, Willem Maris, c. 1880 - c. 1904 (1904), Rijksmuseum, Amsterdam. Derefter følger The calves (1863) og Bulls on a Rocky Coast (1864).
60 år gammel: Eenden, Willem Maris, c. 1880 - c. 1904 er fra 1904, og Willem Maris blev født i 1844.
Eenden, Willem Maris, c. 1880 - c. 1904, The calves, Bulls on a Rocky Coast, Donkeys on the beach, Boys herding donkeys, Feeding of the Calves, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows, Cows On The Water's Edge In A Polderscape og Ducks Alighting On A Pool. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 105 værker af Willem Maris, dateret fra 1859 til 1910.
Primært i Rijksmuseum (Amsterdam), Kunstmuseum Den Haag (Hague) og Amsterdam Museum (Amsterdam). Museumslisten ovenfor viser dem alle.
I 1880s: 12 af de 100 værker på denne side blev skabt dengang, herunder Feeding of the Calves.
På denne side er det tidligste The ferry (1859) og det seneste Witte eend met kiekens, Willem Maris, 1880 - 1910 (1910).
Animals (24), Landscape (15) og Dutch countryside (9), fordelt på de 100 værker på denne side.
Oil On Canvas, for 8 af de 100 værker på denne side.
Hague school og Impressionism, baseret på originalerne på denne side.
Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895 og Meadow with Cows: Rijksmuseum, Amsterdam har 13 af værkerne på denne side.
At træde ind i et landskab malet af Willem Maris er at træde ind i en verden, hvor selve luften besidder vægt, fugt og en dyb følelse af stilhed. Maris blev født i Haag den 18. februar 1844 og skulle senere blive en hjørnesten i Haag-skolen, en bevægelse der hyldede lysende landskaber og gennemtrængte dem med en uovertruffen følsomhed over for atmosfæriske forhold. Mens mange af hans samtidige søgte at dokumentere de stringente detaljer i det hollandske landskab, efterstræbte Maris noget langt mere flygtigt. Han proklamerede berømt sit kunstneriske motto: “Jeg maler ikke køer, men snarere lyseffekter.” Denne unikke filosofi forvandlede de ydmyge motiver på hans lærreder—græssende kvæg, fugtige enge og piletræer—til beholdere for en guddommelig, skinnende stråleglans.
Maris' forbindelse til naturen var ikke blot akademisk; den var dybt personlig og rodfæstet i hans tidligste minder. Længe før han mestrede penslen, tilbragte han utallige timer med at observere engens rytmer, mens han sad blandt kvæget både før og efter sin skoleundervisning. Denne intime fortrolighed med dyrs adfærd og anatomi gav ham et instinktivt fundament, som senere skulle definere hans værk. Hans kunstneriske rejse blev yderligere beriget af en familiær tradition for kreativitet, da hans brødre, Jacob og Matthaijs Maris, også var dygtige malere. Denne fælles passion for landskabet skabte et miljø af udforskning og gensidig vejledning, som var med til at forme selve essensen af Haag-skolens æstetik.
Udviklingen i Maris' teknik afspejler en dyb modning af hans vision, en bevægelse fra det bogstavelige til det lyriske. I de tidlige stadier af hans karriere var hans arbejde karakteriseret ved et disciplineret fokus på præcise gengivelser af hans omgivelser. I denne periode anvendte han sin akademiske træning fra Haag Kunstakademi til at studere dyreanatomi med møjsommelig detaljerigdom, hvilket sikrede, at hver kurve og muskel hos hans motiver blev gengivet med nøjagtighed. Denne æra af nitidig realisme var betydeligt påvirket af hans læretid under kvemaleren Pieter Stortenbeker, som gav Maris de nødvendige bestillingsopgaver, der gjorde det muligt for ham at praktisere sit håndværk udendørs og forfine sin evne til at indfange den rå virkelighed i de hollandske poldere.
Efterhånden som hans beherskelse af mediet voksede, begyndte Maris at transcendere den rene repræsentation. Han bevægede sig væk fra forgængernes stive traditioner og omfavnede dristigere farvepaletter samt anvendte subtile gradueringer for at formidle lysets skiftende nuancer—en overgang, der bragte ham i harmoni med impressionismens spirende ånd. Omkring 1880 gennemgik hans stil en sidste, bjergtagende transformation. Hans penselstrøg blev løsere og mere ekspressive, hvor han benyttede impasto til at skabe lærreder fyldt med tekstur. I disse senere værker opløses grænsen mellem jord og himmel ofte i en sømløs, sølvagtig dis, hvor lyset ikke blot falder på landskabet, men synes at udstråle fra dets indre.
Willem Maris' historiske betydning ligger i hans evne til at finde det sublime i det ordinære. Han var en mester i det, der ofte beskrives som "gråt lys"—det nuancerede, monokrome spektrum af sølv, perle og skifer, som definerer den hollandske atmosfære. Gennem hans arbejde blev de fugtige, tågede egne af Nederlandene ophøjet til et niveau af poetisk storhed. Hans malerier dokumenterer ikke blot scenerier; de oversætter selve åndedrættet fra de lave lande til lærredet og indfanger måden, hvorpå lyset filtreres gennem det tunge atlantiske skydække for at oplyse en våd eng eller en stille kanal.
I sidste ende måles Maris' bidrag til kunsthistorien på hans evne til at fremkalde følelser gennem atmosfære. Hans arv forbliver indlejret i den måde, vi opfatter skønheden i en overskyet himmel og den rolige værdighed i det landlige liv. Gennem hans øjne ser vi, at:
