Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 40 teost Jan Van Beers meie kataloogis
Lühidalt
Kõigist Jan Van Beers jäetud originaalteostest on kõige kuulsam Woman in White (1883), mis kuulub Royal Museum of Fine Arts Antwerp kogele linnas Antverp. Järgnevad sellest Fisherwoman (1878) ja The Woman with Stilts (1878). Meie kataloogist löytyb 40 teost kunstnikult Jan Van Beers; galeriist on säilitatud 39 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
In "Woman in White" by Jan van Beers, the viewer meets a single woman posed gracefully upon a decorative bench. This portrait, created about 1883, is presented as an oval composition set within a dark, circular frame. This framing technique draws the eye inward, focusing all attention on the subject's calm dignity and poise. The perspective remains at a medium shot at eye level, creating an intimate encounter that feels…
In the vertical portrait titled Fisherwoman by Jan van Beers, a woman occupies the center of the frame, poised upon a set of stone steps. She carries herself with a dynamic energy, standing with one leg crossed over the other in a way that suggests a momentary pause in motion. Her attire is a striking shade of green, a satin-like dress that catches the light across its folds. A ruffled…
In this 1878 oil painting, we encounter a figure that commands the narrow space of the canvas through sheer verticality. A person dressed in theatrical, harlequin-style attire stands upon a stone staircase, balanced precariously on long wooden stilts. The composition is elongated, drawing the eye upward along the rigid lines of the stilts toward a wide-brimmed hat adorned with voluminous yellow ostrich feathers. There is a quiet tension in the…
The oil on canvas work titled Henriette Van Beers, the Artist's Sister is a portrait executed by the Belgian painter Jan van Beers. Created about 1875, this bust-length composition depicts a young woman positioned slightly off-center. The subject of the painting is the sister of the artist, Jan van Beers.
The oil painting titled Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier is a portrait executed by the Belgian artist Jan van Beers. This work, created about 1882, focuses on the likeness of a young girl. The subject is characterized by her blonde hair and a calm, neutral expression as she looks toward the viewer.
Willem van Saeftinghe, Lay Brother of Ter Doest Abbey is a portrait by Jan van Beers, executed about 1879. The work focuses on Willem van Saeftinghe, a lay brother belonging to the Cistercian abbey of Ter Doest in Lissewege, West Flanders, Belgium.
Jan Borluut, Patrician of Ghent is a portrait painted by Jan van Beers. The work was created about 1879. The subject of the painting is Jan Borluut, a man from Ghent who belonged to a wealthy patrician family of wool merchants. This lineage held magistrate positions in the city from the 13th to the 16th century.
The heavy air of a bedroom holds the weight of prophecy in Jacob van Maerlant Predicting Jan Breydel en Pieter de Coninck the Liberation of Flanders on his Deathbed. Painted about 1879, this work captures a moment where the past and the future collide through a dying man's vision. The scene centers on the final breaths of Jacob van Maerlant, a figure whose words and foresight reach out toward the…
The composer Peter Benoit is a portrait executed by the Belgian artist Jan van Beers. Created about 1883, the work captures the Flemish composer Peter Benoit in a formal, seated position. The subject is presented with a steady gaze and a relaxed yet dignified posture, reflecting his intellectual standing during the late nineteenth century.
A young woman sits in profile upon the green grass of a lush garden. She is positioned in the center of the composition, her body angled toward the viewer while her gaze remains fixed on the task at hand. She wears a yellow blouse and a cream-colored skirt, the fabric of which settles in soft folds around her seated form. Her hands are occupied with a single flower, from which…
Young Lady in a Feather Hat1881
12
Portrait of Charles Tyson Yerkes1893 · National Portrait Gallery
13
First appointment1897 · Rubens House
14
The funeral of Charles I, Count of Flanders, celebrated in Bruges in the Church of St. Christopher on 22 April 11271876 · Petit Palais
15
Flat Winter Landscape Covered with Snow1899 · Fries Museum
16
The Poet Jan Van Beers and his Wife, The Artist's ParentsRoyal Museum of Fine Arts Antwerp
17
Print
18
La vague
19
Allegory of Winter
20
In the hammock.
21
The Courtesan -
22
Love match
23
Lady of the DirectoireBrighton Museum & Art Gallery
24
Benoit door vBeers
25
Granvelle And The Witch
26
Portrait of a noble woman
27
Alice Antoinette De La Mar
28
The Melon seller
29
Untitled
30
When stars setRoyal Museum of Fine Arts Antwerp
31
With Thoughts of Him
32
Promotional Calendar for Pfungst Freres Champagne
33
Portrait of a Young Woman
34
Souvenance.
35
The Courtesan
36
Portrait of a ManMuseum of Fine Arts
37
Portrait of Henri RochefortRoyal Museum of Fine Arts Antwerp
38
On the Balcony
39
The Emperor Charles V as a ChildRoyal Museum of Fine Arts Antwerp
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 | Jan Van Beers teosid | Selle nimekirja maalid |
|---|---|---|---|
 Royal Museum of Fine Arts Antwerp |
Antverp | 11 | Woman in White, Henriette Van Beers, the Artist's Sister, Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier |
 Museu Nacional d'Art de Catalunya |
Barcelona | 2 | Fisherwoman, The Woman with Stilts |
 National Portrait Gallery |
Washington, D.C. | 1 | Portrait of Charles Tyson Yerkes |
 Rubens House |
Antverp | 1 | First appointment |
 Petit Palais |
Pariis | 1 | The funeral of Charles I, Count of Flanders, celebrated in Bruges in the Church of St. Christopher on 22 April 1127 |
 Fries Museum |
Leeuwarden | 1 | Flat Winter Landscape Covered with Snow |
 Brighton Museum & Art Gallery |
Brighton and Hove | 1 | Lady of the Directoire |
 Museum of Fine Arts |
Boston | 1 | Portrait of a Man |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
In the vertical portrait titled Fisherwoman by Jan van Beers, a woman occupies the center of the frame, poised upon a set of stone steps. She carries herself with a dynamic energy, standing with one leg crossed over the other in a way that suggests a momentary pause in motion. Her attire is a striking shade of green, a satin-like dress that catches the light across its folds. A ruffled…
In "Woman in White" by Jan van Beers, the viewer meets a single woman posed gracefully upon a decorative bench. This portrait, created about 1883, is presented as an oval composition set within a dark, circular frame. This framing technique draws the eye inward, focusing all attention on the subject's calm dignity and poise. The perspective remains at a medium shot at eye level, creating an intimate encounter that feels…
The Portrait of Charles Tyson Yerkes is an oil painting by the Belgian artist Jan van Beers. Created about 1893, the work captures the likeness of the American financier Charles Tyson Yerkes Jr. The brushwork settles upon the subject with the weight of a formal sitting, fixing a moment of quiet authority in oil and pigment.
Woman in White (1883), Royal Museum of Fine Arts Antwerp, Antverp. Järgnevad Fisherwoman (1878) ja The Woman with Stilts (1878).
31 aastat vanus: teos Woman in White on pärinev aastast 1883 ning Jan Van Beers sündis aastal 1852.
Woman in White, Fisherwoman, The Woman with Stilts, Henriette Van Beers, the Artist's Sister, Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier, Willem van Saeftinghe, Lay Brother of Ter Doest Abbey, Jan Borluut, Patrician of Ghent, Jacob van Maerlant Predicting Jan Breydel en Pieter de Coninck the Liberation of Flanders on his Deathbed, The composer Peter Benoit ja He loves me, he loves me not. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 40 teost kunstnikult Jan Van Beers, mis on pärinevad ajastust 1875 kuni 1899.
Peamiselt Royal Museum of Fine Arts Antwerp (Antverp), Museu Nacional d'Art de Catalunya (Barcelona) ja National Portrait Gallery (Washington, D.C.) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1870s: 7 39 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Fisherwoman.
Sellel lehel on kõige vanem teos Henriette Van Beers, the Artist's Sister (1875) ja kõige värskeim Flat Winter Landscape Covered with Snow (1899).
Woman (9), Man (4) ja Flowers (3), kogu selle lehekülje 39 teose kohta.
Oil, 7 teoseks 39 töödelt sellel lehel.
Academic realism, seda lähtudes selle lehe originaalteostest.
Woman in White, Henriette Van Beers, the Artist's Sister ja Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier: Royal Museum of Fine Arts Antwerp, Antverp säilitab 11 selle lehel olevat teost.
Jan Van Beers saavus maailma 1852. aastal Belgias, Lieris, olles luulepoeti Jan van Beersi noorem son. Tema kunstiline teekond sai alguse Antwerpeni Kunstiakadeemias, kus ta sai laidid oma esialgase tehnika ja nägemuse, mis hiljem talle iseloomustas.
Jan Van Beers ei olnud pelgalt üks kunstnik, vaid oma aja jooksul uunneva kunstilise liikumuse keskne jõud. Ta oli juhtlik figür noorte kunstnike rühmitusele, mis levis oma eksentrilise ja julge eluastingu tõttu nime "Van Beersi klikk". See omaaegne kunstiline ring koosnes sellistest talentidest nagu Piet Verhaert, Alexander Struys ja Jef Lambeaux, kes kõik pidasid eelistavaks oma kunsti ja isikupersooni väljendamist läbi erakordsete käitumiste, sealhulgas ajaloolistes kostüumides ringlemise.
Nende algne kunstiline fookus suunas vaadeljaid sügavale mineviku maailma, kus Jan Van Beers keskendus ajaloolisele maalile, luues teoseid, mis pidasid osa Renessanssi ajastu suurepoisust ja dramaatilisusest. Tema varajastest ja märkemast läbivõitudest saab tunnustada tema varem loodud ja kunstiliselt küpsat teost "Charles HEA" matuse.", mis peegeldas tema sügavat huulest ajalooliste narratiivide vastu.
Jan Van Beers uue kunstilise teekonna üks mur turningpunkt oli tema otsust 1880. aastal Pariisi asuminis, mis sundis teda oma kunstilist suunda täielikult uuesti mõtlema. See linn ei olnud vaid uue kodu, vaid ka katalüüsator, mis lendas tema varem valitud teedelt. Ta lahutas ajaloolise maali kunstist, eesnõidades uue suuna, mis leidis kätte žanri- ja portretimaali kunstis.
See stiilimuutus tõi kaasa uue, eriti eduka ja kaasahaarava kunstilaadi, mis keskendus kesklase naiste elulikele ja kutsuvatele kujutlustele. Tema teosed kirjastasid sageli naisi, kes olid süvenenud lugemisesse või kadusid sügavaid, unistavaid mõtetesse, luues atmosfääri, mis oli täis pehmed emotsioone ja elegantsi. Jan Van Beers lähenemine oli siin erakordselt inimlik ja esteetiline; ta kasutas oma teossetes modeleid, pannes ebaseeritud rõhupunktile nende loomulikkusele, kaunisma ja erakordsele šarmile, mis muutus tema portreid ja žanriteid vaatamist väärmsaks kunstiks.
Jan Van Beers'i looming on terviklik miks, kus kohtuvad realism, romantilismi elementid ja dekadents. Tema kunstiline keel on täis sügavust, mis on tugevalt mõjutatud Antoine Wiertzi loomingast, eriti aga tema muidkui õudsete ja makabersete tahudest. Kunstnik tuntis ära oma hüperrealistliku miniatuurstiili, mis pidi selgelt nähtavaks tema 1881. aasta Salongis esitatud töödes. Tema unikaalset visiooni ja tehnikat on sageli võetud ettevõrgustamiseks ning neid on võetud võrdluseks teiste ajakondsete kunstikatega.
Jan Van Beers'i elulõpus tema looming jätkus veelgi ekstreemsemas ja mitmekülgemas suunas. Ta ehitas Pariisi lähedal unikaalse maja, mille iga ruum oli päranditud erineva stiiliga, peegeldades tema mitmekülgsust ja esteetilist vabadust. Lisaks klassikaline kunstnik oli ta aktiivne kaubalik illustraator, luues postereid ja reklaamiteoseid, mis viisid tema stiili veelgi laiemasse avalikkuse teadvusse. Tema tööd ei jäänud aga puhtalt esteetika vastu, vaid neid kaasas ka suuremad debattid; tema teosel ilmnenud ka fotoograafia kasutamine tekitas suurt kontroversi, mida tuntakse kui "l'affaire van beers". Kuigi ta tööd pidasid kriitikud vahel vulgaarseks, saavutas ta ipakendatud teoseid ka läbi märkimisväärse komerciaalne edu. Täna on tema maalid pärand, mida hinnatakse nende realismiga, võlutusiga ja Pariisi elu elavate ja sügavate portreetidega 19. sajandi lõpus.
