Ενημερωμένο Νοέμβριος 2026 · κατάταξη βάσει του σκορ δημοφιλίας μας (αναζητήσεις, επισκέψεις και παραγγελίες για κάθε έργο) · 10 έργα του Γιοστ Άμμαν στον κατάλογό μας
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Το έργο Portrait of Stephen Bathory (detail). (1585) είναι το ποίτευμα του Γιοστ Άμμαν που τραβάει τα περισσότερα βλέμματα· το πρωτότυπο ανήκει στο Βασιλικό Κάστρο της Βαρσοβίας, Βαρσοβία. Μετά από αυτό, το βλέμμα στρέφεται στο The Feast Of Herod, και στο The Sin And Punishment Of The Thief Achan. Ανάμεσα στα 10 έργα του Γιοστ Άμμαν στον κατάλογό μας, αυτά τα 10 είναι τα πιο διάσημα, το καθένα ένα μοναδικό πρωτότυπο που παρουσιάζεται με την χρονολογία του, το μουσείο του και τον λόγο για τον οποίο παραμένει αιώνιο.
A single figure commands the space, anchored by the heavy gravity of velvet and fur. Stephen Bathory is rendered in a moment of stillness, his posture a vertical line of authority against a draped, shadowed background. The light falls from the upper left, catching the ridges of a brocade tunic and the soft, dark texture of a fur lining. Every fold in the fabric carries a sense of physical weight,…
Τα τέσσερα θέματα που εμφανίζονται πιο συχνά σε αυτά τα πρωτότυπα έργα, το καθένα με το εξαιρετικό του παράδειγμα.
Το μουσείο με τη μεγαλύτερη συγκέντρωση έργων σε αυτήν τη σελίδα.
| Μουσείο | Πόλη | Έργα του Γιοστ Άμμαν | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Βασιλικό Κάστρο της Βαρσοβίας |
Βαρσοβία | 1 | Portrait of Stephen Bathory (detail). |
Όλα τα πρωτότυπα έργα του Γιοστ Άμμαν με ημερομηνία που εμφανίζονται εδώ ανήκουν σε μία μόνο χρονιά, το 1585: εμφανίζονται με σειρά δημοσιότητας.
Επιλέξτε μια χρονιά για να δείτε τα πρωτότυπα έργα της.
A single figure commands the space, anchored by the heavy gravity of velvet and fur. Stephen Bathory is rendered in a moment of stillness, his posture a vertical line of authority against a draped, shadowed background. The light falls from the upper left, catching the ridges of a brocade tunic and the soft, dark texture of a fur lining. Every fold in the fabric carries a sense of physical weight,…
Portrait of Stephen Bathory (detail). (1585), Βασιλικό Κάστρο της Βαρσοβίας, Βαρσοβία. Στη συνέχεια ακολουθούν το The Feast Of Herod, και το The Sin And Punishment Of The Thief Achan.
46 ετών: το έργο Portrait of Stephen Bathory (detail). είναι του 1585, και ο/η Γιοστ Άμμαν γεννήθηκε το 1539.
Portrait of Stephen Bathory (detail)., The Feast Of Herod,, The Sin And Punishment Of The Thief Achan, Jacob Wrestles With The Angel,, Nobilis Neapolitana' From Trachtenbuch Von Nurnberg (costume Book Of Nuremberg), Mauritana In Domestico' From Trachtenbuch Von Nurnberg (costume Book Of Nuremberg, Foemina Ex Praecipua Nobi' From Trachtenbuch Von Nurnberg (costume Book Of Nuremberg), The Priests Carry The Ark Of The Covenant, Zechariah's Vision Christ's Entry Into Jerusalem In The Background, και Russian embassy (1576 engraving). Η κατάταξη παραπάνω αναγράφει το έτος και το μουσείο για το κάθε έργο.
Ο κατάλογός μας περιλαμβάνει 10 έργα του Γιοστ Άμμαν.
Κυρίως σε Βασιλικό Κάστρο της Βαρσοβίας (Βαρσοβία). Ο πίνακας μουσείου παραπάνω τους περιλαμβάνει όλους.
Clothing (3) και Books (3), σε συνολικά 10 έργα σε αυτήν τη σελίδα.
Jost Amman (1539-1591) was a Swiss-German artist born in Zurich, Switzerland. His father was a professor of Classics and Logic, ensuring Jost received a well-rounded education – an unusual advantage for artists of his time. Little is known about his early artistic training, but his later work demonstrates a strong foundation in drawing and design.
In 1560, Amman moved to Nuremberg, a major center for printmaking at the time. He became a citizen of the city and remained there until his death in March 1591. Initially, he worked alongside Virgil Solis, a leading producer of book illustrations. This collaboration undoubtedly influenced Amman’s early style and technique.
Amman was remarkably productive; one account suggests his drawings from just four years could fill a hay wagon! Approximately 1,500 prints are attributed to him, making him one of the last major producers of woodcuts for books before engravings largely took over that role. He often employed specialist cutters (Formschneider) but occasionally signed his work with both a cutter’s knife and quill pen, suggesting he sometimes cut blocks himself.
Amman’s drawing style is characterized by its accuracy, spirit, and attention to detail. He excelled at depicting costumes with remarkable precision. While influenced by Virgil Solis, Amman developed his own distinct style, focusing on clarity and informative representation. His work reflects the Renaissance interest in observation and documentation.
Jost Amman played a crucial role in preserving visual records of 16th-century life. His illustrations provide invaluable information about trades, costumes, and social customs of the period. As one of the last major woodcut artists for books, he bridged the gap between traditional woodcut techniques and the emerging dominance of engraving. His work continues to be studied by historians, art scholars, and costume designers today.
Although paintings in oil and on glass have been attributed to Amman, none have been definitively identified. His enduring legacy rests primarily on his prolific output of woodcuts and book illustrations, which remain a testament to his skill, dedication, and the importance of visual documentation in the Renaissance era.
