Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 33 teost Johann Liss meie kataloogis
Lühidalt
Nymph and Shepherd (1625) on Johann Liss maalide kõige silmapaistvam teos; originaal kuulub museumi Metropolitan Museum of Art, New York. Pärast seda suunatakse pilk Temptation of Saint Anthony (1614) ja The Apostle Paul (1614) suunas. Meie kataloogis olevatest Johann Liss 33 teosest on need 31 kõige kuulsumat, millist igaüks on esitatud koos aasta, muuseumi ja põhjusega, miks teos on püsiv.
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
The Apostle Paul emerges from the shadows of history in this striking portrait by Johann Liss. Created about 1614, the work captures a moment of profound spiritual intensity. The subject is an elderly man, his features weathered by time and his spirit ignited by divine inspiration. He is identified as the Apostle Paul, a figure of immense weight in religious tradition, appearing here with a sense of urgent, living presence.
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A pale, luminous figure lies amidst the dark textures of a cavernous landscape. This reclining nude female rests upon a bed of grass and white drapery, her body catching a soft, directional light that pulls her from the surrounding gloom. She faces away, her posture relaxed and heavy with sleep. Around her, the world is composed of craggy, dark rocky masses and deep, earthy tones of ochre and brown. The…
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
A youthful figure emerges from a heavy, dark void. This is Cupid, the god of desire, caught in a moment of quiet tension. His skin possesses a luminous, fleshy quality that seems to hold its own light against the surrounding gloom. He holds a single arrow diagonally across his chest, a sharp instrument of fate held with a soft, unstudied grace. The composition pulls the viewer into an intimate space,…
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Temptation of Saint Anthony1660 · Bavaria riiklikud maalidema kogumikud
12
The Ecstasy of St Paul1628 · Berliini Riigimuseumid
13
The Prodigal Son1625 · Academy of Fine Arts Vienna
14
Untitled (D2X6GG)1626 · Metropolitan Museum of Art
15
A Bacchanalian Feast1617 · Fitzwilliam College
16
Judith in the Tent of Holofernes1622 · National Gallery
17
The Fall of Phaeton1624 · National Gallery
18
Adam and Eve Mourning for Abel1624 · Gallerie dell'Accademia di Venezia
19
The Vision of St Jerome1627 · San Nicola da Tolentino
20
Franciscan MonkStatens Museum For Kunst
21
A lute player
22
MOISE SAUVE DES EAUXPalais des Beaux-Arts de Lille
23
E Dirck van der Blind Mans Buff
24
Abel mourned by his parents
25
The Satyr and the Peasant1626 · National Gallery of Art
26
Venus and Adonis1625 · Staatliche Kunsthalle Karlsruhe
27
Cleopatra surmumine1622 · Alte Pinakothek
28
Isaac ohverdamine1624 · Gallerie dell'Accademia di Venezia
29
Judith and Holophernes1628 · Kunsthistorisches Museum
30
Apollo and Marsyas1627 · Gallerie dell'Accademia di Venezia
31
Venus in front of the Mirror1625 · Galleria degli Uffizi
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 | Johann Liss teosid | Selle nimekirja maalid |
|---|---|---|---|
 Bavaria riiklikud maalidema kogumikud |
München | 4 | Temptation of Saint Anthony, The Apostle Paul, Temptation of Saint Anthony |
 Gallerie dell'Accademia di Venezia |
Veneetsia | 3 | Adam and Eve Mourning for Abel, Isaac ohverdamine, Apollo and Marsyas |
 Metropolitan Museum of Art |
New York | 2 | Nymph and Shepherd, Untitled (D2X6GG) |
 Statens Museum For Kunst |
Kooberemaa | 2 | Sleeping Nymph, Franciscan Monk |
 National Gallery |
London | 2 | Judith in the Tent of Holofernes, The Fall of Phaeton |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kassel | 1 | A Game of Morra |
 Szépművészeti Múzeum |
Budapest | 1 | Village Wedding Procession |
 Germanisches Nationalmuseum |
Nürnberg | 1 | The prodigal son at the prostitutes |
Siin kuvatud Johann Liss esimese ja viimase originaalte jae 1614 ja 1628 vahel on 15 aastat: iga aasta on allpool oma kohal.
Vali aasta, et näha originaale.
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
Veel 1614 teoseid
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A large dining table draped in white cloth anchors the scene, a pale island amidst a sea of movement. Figures cluster around this center, their bodies caught in various states of repose and action. Some sit, anchored by the weight of the feast, while others stand, their limbs tracing arcs through the air. The air feels thick with the energy of a communal celebration, a moment of shared indulgence frozen…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Veel 1620 teoseid
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
Veel 1622 teoseid
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Veel 1624 teoseid
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
Veel 1625 teoseid
In the vast tapestry of the 17th-century Baroque era, where the theatrical shadows of Caravaggio and the luminous interiors of Vermeer often command the spotlight, there exists a more intimate, whispered form of storytelling. Johann Liss’s “The Temptation of Saint Mary Magdalen,” completed around 1626, serves as a profound testament to this subtle mastery. The painting captures a pivotal moment of spiritual and psychological tension, inviting the viewer into a…
Veel 1626 teoseid
The air in the room feels heavy with the weight of a sudden, celestial intrusion. St. Jerome sits amidst the quietude of his devotion, an old man whose white beard catches the light, marking him as a soul weathered by years of study and solitude. He is not alone. The stillness is broken by the presence of angels, their forms appearing as if they have just stepped through the veil…
Veel 1627 teoseid
To gaze upon The Ecstasy of St Paul is to be enveloped in a moment so transcendent it seems plucked directly from the annals of divine revelation. This painting does not merely depict an event; it captures the very breath of spiritual rapture. At its heart, St. Paul is suspended, his outstretched arms reaching not just toward the heavens, but into a palpable emanation of grace. The composition centers on…
Veel 1628 teoseid
Nymph and Shepherd (1625), Metropolitan Museum of Art, New York. Järgnevad Temptation of Saint Anthony (1614) ja The Apostle Paul (1614).
28 aastat vanus: teos Nymph and Shepherd on pärinev aastast 1625 ning Johann Liss sündis aastal 1597.
Nymph and Shepherd, Temptation of Saint Anthony, The Apostle Paul, Curse of Cain, A Game of Morra, Village Wedding Procession, Sleeping Nymph, The prodigal son at the prostitutes, Cupid (Amor) ja Temptation of Saint Anthony. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 33 teost kunstnikult Johann Liss, mis on pärinevad ajastust 1614 kuni 1628.
Peamiselt Bavaria riiklikud maalidema kogumikud (München), Gallerie dell'Accademia di Venezia (Veneetsia) ja Metropolitan Museum of Art (New York) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1624: 4 31 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Temptation of Saint Anthony.
Sellel lehel on kõige vanem teos Temptation of Saint Anthony (1614) ja kõige värskeim The Ecstasy of St Paul (1628).
Man (10), Woman (9) ja People (7), kogu selle lehekülje 31 teose kohta.
Oil On Canvas, 14 teoseks 31 töödelt sellel lehel.
Baroque, seda lähtudes selle lehe originaalteostest.
Temptation of Saint Anthony, The Apostle Paul ja Temptation of Saint Anthony: Bavaria riiklikud maalidema kogumikud, München säilitab 4 selle lehel olevat teost.
Johann Liss, tuntud ka Jan Lys, on 17. sajandi Saksa barook liikumise läbivõitmatu nägu, maaler, kelle Euroopa-läbi teekond peegeldas tema ajastu vibrerendeid ja muutuvaid voole. Saksamaas, Schleswig-Holsteinis, täpsemalt Oldenburgis sündinud Lissi varajane elu on olnud oma koduriigi rangete kunsttraditsioonide mõjupanekus. Tema kunstnikuteekond oli pideva liikumise ja sügava transformatsiooni protsess, liikudes Germanias Põhjapiirkonnast kontinendi suurimate kunstikeskuste juurde. Hendrick Goltziuse õppekonnas Haarlemis ja Amsterdamis omandades ta absorberoopis hollandi traditsiooni tehnilise täiuslikkuse, enne kui ta alustas rändeid, mis viisid teda läbi Pariisi sügavamale Itaaliasse.
Lissi stiili evolutsioon on kunstilise kohanemise lummav uuring. Tema varajane periood, mis on märkimisväärt väljend olnud umbes aastatel 1620–1622 viibumine Roomas, paljastab sügava seosuse Caravaggio dramaatilise pingega. Need vormingasaedad määrkasid tema lamedad pinda valgus ja varjund, tehnika, mis tõi tema religioossetele ja müütilistele teemadele kohese ja viskeerse kohalolu. Kuid kui ta migreeris Veneetsiasse, läks tema palett läbi suurepärase metamorfoosi. Tema Rooma perioodi tumedad sügavused said kohale vaimastatud käsitlemine maalitud pinnale, mida iseloomustasid erksad värvid ja vaba, energiline pintúde käekäik, mis nägi välja olevat elav.
Lissil oli haruldane võime navigeerida pühast ja profaanses maailmas, koheldes piibelilisi narratiive ja klassikalisi müüte samavõimsel emotsionaalse intensiivsusega. Oma religioossetes teosedes, nagu Isaac iisaki ohver, kasutas ta barook esteetikat, et uurida usu, kuulekuse ja boonuse sekkumise sügavaid teemasid. Ta asetati sageli need raskaad teoloogilised hetked laialdaste ja hoolikalt detailide rikkastatud maastikudega, luues pinge kirja ja looduse vahel. Tema jumalikkuse kujutused ei olnud kunagi pelgalt staatilised; need pulsasid liikumise ja psühholoogilise sügavuse tunnetega, mis pidi kinni 17. sajandi religioosuse kirest.
Vastupidi võimaldasid tema müütilised teosed inimesekuju ja klassikalise legendi sensuaalsem uurinemist. Teosetes nagu Venus ja Adonis embracedas Liss kasvavat ilu ja himu esteetikat, kasutades kermet õli kooper, et saavutada pehmeid toonivariaatsioone, mis tõstisid Ovidia tragedia emotsionaalset kaalu. Olgu see siis Cleopatra tragöödia lõpp või jumalik otsustus teoses Apollo ja Marsyas, tema töö püüdis pidevalt ületada lihtsat lugemist. Ta pöördugi emotsiooni råba jõu poole, kasutades paksut impasto-tehnikat ja dünaamilisi kompozitsioone, et tagada, et iga müütiline kohtumine tunduks nii antiikne kui ka hädavabas elav.
Johann Lissi tähtsus ulatub kaugele tema üksikuid lamedat pinto_id üle, kuna tema stiililised innovatsioonid aitasid avada teed tulevasedle kunstnikegeneratsioonidele. Tema hilisem Veneetsia stiil, millele on omastatud valgus, värv ja teatud vaba spontaansus, toimis rokokoo liikumise eeltulevikuna. Tema töödest leevatav energiline pintstrokes võib näha varajase mõjuna suurel Guardi vendadel ning tema võime integreerida välisoidud Veneetsia traditsiooni jägi püsiv jälje Veenetsia kunstimaastikule.
Tema mõju on kõige selgemalt tunda 18. sajandi meistrite liinil. Sebastiano Ricci, Giovanni Battista Tiepolo ja Giovanni Piazzetta teosed kannavad kõigi koos Lissi algatuslikku sära ja liikumist. Kuigi tema elu sai Verona peal eituse ohvriks, jättes järel pärand nii pühast piibeliliste teemade kui ka sensuaalsete müütiliste lugude रूप, on ta oluline side barook suurepärasuse kettas. Ta oli maaler, kes valistas läbi transformatsiooni kunsti, pöörates Rooma varjud Veneetsia säravaks valguks.
