Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 37 teost Jan Wildens meie kataloogis
Lühidalt
Kõigist Jan Wildens jäetud originaalteostest on kõige kuulsam Landscape with hunters (1649), mis kuulub Kunsthistorisches Museum kogele linnas Viin. Järgnevad sellest Landscape with Christ and his Disciples on the Road to Emmaus (1640) ja Landscape with Rocky Formations (1600). Meie kataloogist löytyb 37 teost kunstnikult Jan Wildens; galeriist on säilitatud 36 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
In the quietude of Jan Wildens’ 1640 masterpiece, Landscape with Christ and his Disciples on the Road to Emmaus, the viewer is invited into a moment of profound spiritual stillness. This monumental canvas does not merely depict a biblical event; it orchestrates a meditation on faith set against the restorative backdrop of the natural world. As we gaze upon the rolling hills and the dusty, winding path, we find ourselves…
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
In this oil painting, titled Landscape; loving couples at breakfast, Jan Wildens presents a pastoral scene that invites a quiet contemplation of rural life. Created about 1611, the work captures several couples gathered in a meadow, enjoying a meal together in the open air. The figures are situated within a lush, natural setting, surrounded by the soft textures of a rolling landscape. There is a sense of calm in their…
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
Landscape with the Devil Sowing Tares by Jan Wildens, executed about 1635, presents a biblical allegory set within a wooded environment. The composition centers on the Parable of the Tares, a narrative of spiritual deception. A single figure, representing the Devil, moves through the terrain to sow weeds among the wheat.
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
The sun hangs low on the horizon, casting a warm, diffused glow across a sprawling landscape that feels as though it is breathing. In this wide, panoramic scene, the air seems thick with the quiet tension of a fated encounter. Rebekah stands by the well, her presence a focal point amidst a gathering of travelers, camels, and livestock. The light of the setting sun catches the edges of the figures,…
The oil painting titled Boar Hunt was executed by the Flemish artist Jan Wildens. This work is a copy of a painting originating from the workshop of Peter Paul Rubens. It captures a moment of intense movement within the forest, rendered with the specific hand of Wildens. The piece dates to about 1640.
Pastorale1643 · Rubens House
12
August, harvest
13
Landscape with Dead Oak1600 · Museum Mayer van den Bergh
14
Landscape with figures1601 · Museo del Prado
15
Forest Landscape with Stream1619
16
Landscape with shearers1613 · Museo del Prado
17
Travellers at the ferry launch1617 · New York Historical Society
18
Landscape with a rainbow and lumberjacks1621 · Gemäldegalerie
19
Marshy Countryside1629 · Szépművészeti Múzeum
20
Landscape with Shepherds1631 · Koninklijk Museum voor Schone Kunsten
21
Landscape with love couple1640 · Kunsthistorisches Museum
22
Landscape with Thunderstorm1649 · Bavaria riiklikud maalidema kogumikud
23
Landscape with Hunt of Meleager and Atalanta1650 · Royal Museum of Fine Arts Antwerp
24
Landscape with Gentlefolk and GypsiesMuseum of Fine Arts
25
Panoramic View of Antwerp from the East, Jan Wildens, 16361636 · Rijksmuseum
26
Stag huntHermitage muuseum
27
Horse Attacked by DogsHermitage muuseum
28
Mercury and Argus
29
Road on the bank of the stream
30
A wooded landscape with a figure on horseback and shepherds with their flock on a path, a castle bayond
31
Wolves Attacking a HorseHermitage muuseum
32
Joseph sold by his BrothersFundación Banco Santander
33
Infant Christ and St. John the Babtist in a landscape.Varssavi Rahvusmuuseum
34
The St. Bernard Abbey in HemiksemRoyal Museum of Fine Arts Antwerp
35
Landscape with Peasants
36
Winter Landscape with a Hunter1624 · Gemäldegalerie
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 Wildens teosid | Selle nimekirja maalid |
|---|---|---|---|
 Hermitage muuseum |
Stiiitlinburg | 5 | Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape, Stag hunt |
 Bavaria riiklikud maalidema kogumikud |
München | 3 | Latona and the Lycian Peasants, Boar Hunt, Landscape with Thunderstorm |
 Kunsthistorisches Museum |
Viin | 2 | Landscape with hunters, Landscape with love couple |
 Museum Mayer van den Bergh |
Antwerpen | 2 | Landscape with Rocky Formations, Landscape with Dead Oak |
 Museo del Prado |
Madrid | 2 | Landscape with figures, Landscape with shearers |
 Royal Museum of Fine Arts Antwerp |
Antverp | 2 | Landscape with Hunt of Meleager and Atalanta, The St. Bernard Abbey in Hemiksem |
 Jekaterinburgi bildkunste muuseum |
Jekaterinburg | 1 | Transformation of Women into Magpies |
 Royal Collection |
London | 1 | Landscape with the Devil Sowing Tares |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
Landscape with Hunt of Meleager and Atalanta by Jan Wildens, executed about 1650, presents a dramatic scene set within a dense, wooded environment. The composition centers on a group of hunters, horses, and hounds engaged in a frantic pursuit. This activity likely represents the mythological hunt of Meleager and Atalanta.
Landscape with hunters (1649), Kunsthistorisches Museum, Viin. Järgnevad Landscape with Christ and his Disciples on the Road to Emmaus (1640) ja Landscape with Rocky Formations (1600).
63 aastat vanus: teos Landscape with hunters on pärinev aastast 1649 ning Jan Wildens sündis aastal 1586.
Landscape with hunters, Landscape with Christ and his Disciples on the Road to Emmaus, Landscape with Rocky Formations, Latona and the Lycian Peasants, Landscape; loving couples at breakfast, Transformation of Women into Magpies, Landscape with the Devil Sowing Tares, Hunter with Dogs in a Landscape, Rebekah and Eliezer at the well (Genesis 24:18-19) ja Boar Hunt. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 37 teost kunstnikult Jan Wildens, mis on pärinevad ajastust 1600 kuni 1650.
Peamiselt Hermitage muuseum (Stiiitlinburg), Bavaria riiklikud maalidema kogumikud (München) ja Kunsthistorisches Museum (Viin) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1640s: 6 36 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Landscape with hunters.
Sellel lehel on kõige vanem teos Landscape with Rocky Formations (1600) ja kõige värskeim Landscape with Hunt of Meleager and Atalanta (1650).
Trees (18), Landscape (15) ja Sky (15), kogu selle lehekülje 36 teose kohta.
Oil On Canvas, 17 teoseks 36 töödelt sellel lehel.
Flemish baroque, seda lähtudes selle lehe originaalteostest.
Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape ja Stag hunt: Hermitage muuseum, Stiiitlinburg säilitab 5 selle lehel olevat teost.
Jan Wildens, kes sündis 1586. aastal Antwerpeni pulsisarguses, on keskmone tähtsusega tegelane flamandi baroki maastikmaaliide traditsioonis. Tema kunstiline pärand tugineb hoolikalt välja töötatud stseenidele, mis on täidetud sügava rahu ja realismiga — stiililine tunnusmärk, mis kinnitas tema famaatsust selliste hiigluste kõrval nagu Peter Paul Rubens ja Jan Bril. Erinevalt paljudest tema kaaspõisistest, kes eelistasid dramaatilist teatraalsust ja turbulentseid kompositsioone, arendas Wildens esteetikat, mis oli juurdunud täpsel tähelepanelusel ja peenel detailil. Ta omandis unikaalse võime vangustada nii maase elu kui ka linnamaastike olemust, esitades maailma mitte kaosina, vaid vaikse ja püsiva kauneuse aknana.
Tema meistriarvutus aluslaid laidus Antwerpenis, tema vormingasaastad. Kuigi tema isa Hendrick Wildens oli austatud kaupmees, oli Jani tee määratud eemaljale. Pärast isa ebaerilist surma kasvatas teda tema ema Magdalena van Vosbergen ja tema teine abikaas Cornelis Cock. See kodune keskkond tõi ta suure meistrite ringkondadesse, kuna Cock oli Cornelis de Vos võimatu mees, ning see side sisseveeti Jani Antwerpeni kunstielu sügavasse söidusse. Ainavalt kuised vanuses liitus Wildens prestiižses Antwerpeni St. Luku gildis õpilasena Pieter van der Hulst (I) juures. Selle õpetuse all mestris ta maastikukompositsiooni ja valguse alustaluseid, arendades täpselt visuaalse keele, mis võimaldas hiljem elustada nii laia laadiga panoraame kui ka intiimeid piiratud piiblilisi stseene.
Wildensi ilustri karjääri kõige olulisem peatükk oli kaudimata tema sügav kunstiline partnerlus Peter Paul Rubensiga. See ei olnud pelgalt õpilase ja õpetaja suhe, vaid tõeline võrdsete koostöö, mis tõi baroki liikumises maastikgenre uuele tasemele. Nende ühine töö hõlmus mitmeid monumentaalseid projekte, eriti märkimisväärne oli kardinate Ferdinand tellimus annetatud hämmastav Decius Mus tapetiseeria. Need suurepärased kompositsioonid palusid Wildensil luua atmosfäärilisi linnamaastikke, mis toimisid lavana ajaloolisele draamale, panedades eritoiletult oma panuse Antwerpeni suurejoonuliste vaadete loomisesse. See seos võimaldas Wildensil ühendada oma detailset realismiga Rubens eepilist narratiivset mõõtust, tõstes ta Euroopa tunnustuse kõrgetele laidile.
Lisaks neile suurpõhjalistele tellimustele näitas Wildens märkimisväärset mitmekorralikkust teemade valimisel. Tema võime liida arhitektuuriline täpsus linnamaastike juures vaimne vaikus religioossetes narratiivides on nähtav tema mitmekorralikus laadikus. Näiteks:
Jan Wildensi ajalooline tähtsus peitub tema rollis sillana detailset, tähelepanelikku traditsiooni hilja renessansi ja emotsionaalsemate, laiemate maastikudega kõrg baroki vahel. Ta vältis pelgasse dekoratiivsusesse kukkumist, kasutades maastikku pigem suurepõlise narratiivi juurdutamiseks konkreetsesse ja mõistetavasse reaalsusesse. Tema töö pakkus vajalikku "hingust" Rubens kompositsioonide ülikõrgetele figuuridele, pakkudes kohatunnet, mis tegi müütilised ja ajaloolised stseenid füüsiliselt reaalsed.
Kui me vaatame tagasi tema ellu, mis lõppes aastal 1653, näeme kunstnikku, kes valistas peenuse kunsti. Tänu oma pühendumusele valgusle, tekstuurile ja atmosfäärile, tagas Wildens, et Flandria maastikud jääksid mäletama mitte ainult taustadena, vaid Lääne kunst loole püsivate isikutena. Tema võime leida erimust tavalisest on jätkuvalt lummav kollektsionidele ja ajaloolistele uurijatele, toimides tunnistuskuna stabiile ja tähelepanelise silma jõuule.
