Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 82 teost Joachim Wtewael meie kataloogis
Lühidalt
Kõigist Joachim Wtewael jäetud originaalteostest on kõige kuulsam Actaeon is changed into a stag and killed by his own dogs (1607), mis kuulub Kunsthistorisches Museum kogele linnas Viin. Järgnevad sellest Mars and Venus Surprised by Vulcan (1610) ja Adoration by the Shepherds (1625). Meie kataloogist löytyb 82 teost kunstnikult Joachim Wtewael; galeriist on säilitatud 77 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
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 · Royal Museum of Fine Arts Antwerp
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 muuseum
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 · Pushkini riiklik kunstimuuseum
35
Mars and Venus Discovered by the Gods1603
36
Portrait Of The Artist's Wife1601 · Centraal Museum
37
Martyrdom of Saint Sebastian1600 · Nelson-Atkinsi kunstimuuseum
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 muuseum
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'i muuseum
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'i muuseum
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'i muuseum
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Joachim Wtewael teosid | Selle nimekirja maalid |
|---|---|---|---|
 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'i muuseum |
Pariis | 3 | JUPITER ET DANAE, Persée secourant Andromède, Perseus and Andromeda |
 Kunsthistorisches Museum |
Viin | 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 |
Berliin | 2 | Lot and his Daughters, Kitchen Scene |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
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, Viin. Järgnevad Mars and Venus Surprised by Vulcan (1610) ja Adoration by the Shepherds (1625).
41 aastat vanus: teos Actaeon is changed into a stag and killed by his own dogs on pärinev aastast 1607 ning Joachim Wtewael sündis aastal 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) ja Adoration of the Shepherds. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 82 teost kunstnikult Joachim Wtewael, mis on pärinevad ajastust 1591 kuni 1628.
Peamiselt Centraal Museum (Utrecht), Rijksmuseum (Amsterdam) ja Metropolitan Museum of Art (New York) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1600s: 24 77 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Actaeon is changed into a stag and killed by his own dogs.
Sellel lehel on kõige vanem teos St John the Evangelist (1591) ja kõige värskeim Portrait of Johan Wtewael (1598-1652) (1628).
Mythology (11), Man (10) ja Gods (10), kogu selle lehekülje 77 teose kohta.
Oil On Canvas, 12 teoseks 77 töödelt sellel lehel.
Northern renaissance ja Mannerism, seda lähtudes selle lehe originaalteostest.
Banquet of the Gods, Portrait of Steven de Witt (?-1571) ja Adoration of the Shepherds: Centraal Museum, Utrecht säilitab 13 selle lehel olevat teost.
Joachim Anthonisz Wtewael, a name whispered among connoisseurs of the Dutch Golden Age, remains a captivating figure whose art defies easy categorization. Born in 1566 and passing away in 1638, his life was as multifaceted as his canvases. While his artistic genius shone brightly, it is equally notable that he was also a successful flax merchant and an active town councillor of Utrecht. This dual existence—the meticulous artisan alongside the pillar of civic society—suggests a man whose life demanded both worldly acumen and profound creative focus. Wtewael’s signature style, however, possessed a remarkable consistency; it remained largely untouched by the sweeping naturalistic currents that were reshaping art across Europe during his lifetime.
Wtewael's early training rooted him deeply in the sophisticated vocabulary of late 16th-century Haarlem Mannerism. His initial professional life saw him working as a glassmaker and engraver within his father’s workshop, an apprenticeship that undoubtedly honed his hand for intricate detail. A pivotal period arrived when he embarked on travels through Italy and France starting in 1586. These sojourns were crucial, exposing him to the rich artistic currents of the Second School of Fontainebleau. Yet, despite these influences, Wtewael possessed a unique internal compass. His work is characterized by figures that are masterfully drawn, possessing an almost porcelain-like polish, often arranged in poses that feel wonderfully capricious and dramatically charged.
The body of his surviving work—comprising around one hundred paintings, alongside numerous drawings and stained glass designs—reveals a fascinating thematic duality. He was equally at home depicting profound religious narratives as he was celebrating the lush drama of classical mythology. Consider works such as Adoration of the Shepherds juxtaposed with Venus and Mars Surprised by Vulcan. These pieces showcase his remarkable ability to weave together conventional sacred subjects with pagan lore, often imbuing both realms with a palpable, sometimes strong erotic undercurrent that draws the viewer into its narrative embrace. His attention to detail is breathtaking; in works like Perseus and Andromeda, housed notably at the Mauritshuis museum in Utrecht, one can trace his unparalleled skill.
What makes Wtewael’s contribution so significant is precisely that resistance to change. While naturalism beckoned artists toward greater realism, Wtewael held fast to a polished, idealized aesthetic, creating a body of work that feels both historically situated and eternally vibrant. His cabinet paintings, executed on copper plates, are particularly distinctive and numerous, offering intimate glimpses into his artistic process. Though the final decade of his life saw him retreat from painting—a period possibly marked by personal sorrow following the passing of his wife—the impact of his vision endures. He gifted art history a style that remains both highly polished and wonderfully unpredictable.
