Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 30 teost Simon Bening meie kataloogis
Lühidalt
Kõigist Simon Bening jäetud originaalteostest on kõige kuulsam The Seven Sorrows of the Virgin (1530), mis kuulub J. Paul Getty muuseum kogele linnas Los Angeles. Järgnevad sellest Landscape with St Jerome (1515) ja Self-Portrait (1558). Meie kataloogist löytyb 30 teost kunstnikult Simon Bening; galeriist on säilitatud 30 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
Simon Bening produced The Seven Sorrows of the Virgin in 1530. This miniature focuses on the spiritual suffering of the Virgin Mary, specifically the grief experienced throughout her life. The work is held within the J. Paul Getty Museum in Los Angeles, United States of America.
To gaze upon Simon Bening's Landscape with St Jerome is to step through a portal into the early sixteenth century, a world rendered with meticulous devotion and profound tranquility. This painting, executed in 1515, transcends mere depiction; it is an immersive experience of nature’s enduring peace. The composition immediately draws the eye into a pastoral dreamscape, anchored by the dramatic presence of a large rock formation on the left. This…
The miniature portrait of Simon Bening, created in 1558, is more than just a likeness; it's a meticulously crafted window into the mind and spirit of a master Flemish illuminator. Housed within the Metropolitan Museum of Art, this small panel – measuring a mere 9 x 6 centimeters – belies the profound depth of its artistic statement. Bening, a pivotal figure bridging the late Gothic and early Renaissance traditions, wasn’t…
Within the hushed reverence of the Musée du Louvre in Paris resides a miniature painting that transcends its diminutive size, offering an intimate glimpse into the life and artistic vision of Simon Bening. His “Self-Portrait,” created in 1535, is not merely a likeness; it’s a carefully constructed statement about identity, skill, and the burgeoning humanist ideals of the Renaissance. Measuring just 9 x 7 centimeters on vellum, this work embodies…
The morning air feels crisp and still as a small procession of villagers meanders along a winding path. They move with a rhythmic, steady purpose, their figures silhouetted against a landscape of rolling hills and skeletal trees. A soft, diffused light bathes the scene, suggesting the pale glow of a late winter morning. This is the season of Candlemas, and the flickering light held by the faithful seems to pierce…
To gaze upon this miniature is to enter a rarefied moment of profound spiritual confrontation. The scene captures the biblical narrative of The Temptation of Christ, an episode rich with theological weight and dramatic tension. It is not merely a depiction of temptation, but rather a visual meditation on divine will versus worldly allure. The composition masterfully frames Jesus, steadfast in his resolve, against the seductive whispers of the devil.…
The Pietà is a work by the Netherlandish artist Simon Bening. This miniature was created about 1522. Bening, who was born in Ghent (?) in 1483/84 and died in 1561 in Bruges, captured this sacred scene on a small scale. The image focuses on the heavy, quiet weight of the moment.
In Pentecost by Simon Bening, the composition organizes a multitude of figures within a structured architectural environment. The scene is set inside a space resembling a Gothic cathedral, where the geometry of the building provides a framework for the religious event. This architectural setting functions as a sacred space, grounding the spiritual narrative in a tangible, physical realm. The arrangement of the figures creates a sense of depth through overlapping…
Two distinct biblical narratives occupy these narrow, vertical panels, separated by a gold-colored border. In the left segment, John the Baptist preaches to a gathered assembly near the water's edge, framed by towering, lush green trees that emphasize the verticality of the composition. The right panel depicts the Baptism of Christ, where Jesus stands in the water with hands clasped in prayer while John reaches toward him. A white dove…
The composition is divided into two distinct registers. In the upper, larger scene, a woman identified as St. Gertrude de Nivelles sits within a wooden interior. She wears a black and white habit and a white wimple, with a golden halo encircling her head. Her hands are occupied with a drop spindle, spinning wool. The room is constructed of dark, grained wood, and several small black mice are scattered across…
Adoration of the Magi1520
12
Triptych of Virgin and Child; Saints Catherine and Barbara1520 · Museum of Fine Arts
13
Peter's Denial1527 · Getty Center
14
Christ Washing the Apostles' Feet1527 · Getty Center
15
Portrait of Henry III, Count of Nassau-Breda1550 · Gemäldegalerie
16
Book of Hours1530 · The Met Cloisters
17
Manuscript Leaf with Adoration of the Holy Name, from a Book of Hours1530
18
Henry III, Count of Nassau-Breda and Mencía de Mendoza1531 · Berliini Riigimuseumid
19
Scenes from the Creation
20
Penitent St Jerome1515 · Monasterio de San Lorenzo
21
Virgin and ChildMuseum of Fine Arts Ghent (MSK)
22
Jesus Among the Doctors1530 · J. Paul Getty muuseum
23
The annunciation
24
Gathering twigs
25
The nativity
26
Villagers on Their Way to Church
27
Leaf from the Munich-Montserrat Hours
28
Prayer Book of Cardinal Albrecht of Brandenburg
29
Self-portrait1558
30
Calendar Miniatures from a Book of HoursJ. Paul Getty 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 | Simon Bening teosid | Selle nimekirja maalid |
|---|---|---|---|
 J. Paul Getty muuseum |
Los Angeles | 5 | The Seven Sorrows of the Virgin, Villagers on Their Way to Church, The Temptation of Christ |
 Louvre'i muuseum |
Pariis | 2 | Landscape with St Jerome, Self-Portrait |
 Metropolitan Museum of Art |
New York | 2 | Self-Portrait, Pietà |
 Getty Center |
Los Angeles | 2 | Peter's Denial, Christ Washing the Apostles' Feet |
 Museum Boijmans Van Beuningen |
Rotterdam | 1 | Pentecost |
 Groeningemuseum |
Brugge | 1 | John the Baptist preaching and the Baptism of Christ |
 Carnegie Kunstimuuseum |
Pittsburgh | 1 | St. Gertrude de Nivelles, from the Hours of Cardinal Albrecht of Brandenburg (1490-1545), Archibishop and Elector of Mainz |
 Museum of Fine Arts |
Houston | 1 | Triptych of Virgin and Child; Saints Catherine and Barbara |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
To gaze upon Simon Bening's Landscape with St Jerome is to step through a portal into the early sixteenth century, a world rendered with meticulous devotion and profound tranquility. This painting, executed in 1515, transcends mere depiction; it is an immersive experience of nature’s enduring peace. The composition immediately draws the eye into a pastoral dreamscape, anchored by the dramatic presence of a large rock formation on the left. This…
The Pietà is a work by the Netherlandish artist Simon Bening. This miniature was created about 1522. Bening, who was born in Ghent (?) in 1483/84 and died in 1561 in Bruges, captured this sacred scene on a small scale. The image focuses on the heavy, quiet weight of the moment.
Simon Bening produced The Seven Sorrows of the Virgin in 1530. This miniature focuses on the spiritual suffering of the Virgin Mary, specifically the grief experienced throughout her life. The work is held within the J. Paul Getty Museum in Los Angeles, United States of America.
The miniature portrait of Simon Bening, created in 1558, is more than just a likeness; it's a meticulously crafted window into the mind and spirit of a master Flemish illuminator. Housed within the Metropolitan Museum of Art, this small panel – measuring a mere 9 x 6 centimeters – belies the profound depth of its artistic statement. Bening, a pivotal figure bridging the late Gothic and early Renaissance traditions, wasn’t…
The Seven Sorrows of the Virgin (1530), J. Paul Getty muuseum, Los Angeles. Järgnevad Landscape with St Jerome (1515) ja Self-Portrait (1558).
47 aastat vanus: teos The Seven Sorrows of the Virgin on pärinev aastast 1530 ning Simon Bening sündis aastal 1483.
The Seven Sorrows of the Virgin, Landscape with St Jerome, Self-Portrait, Self-Portrait, Villagers on Their Way to Church, The Temptation of Christ, Pietà, Pentecost, John the Baptist preaching and the Baptism of Christ ja St. Gertrude de Nivelles, from the Hours of Cardinal Albrecht of Brandenburg (1490-1545), Archibishop and Elector of Mainz. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 30 teost kunstnikult Simon Bening, mis on pärinevad ajastust 1510 kuni 1558.
Peamiselt J. Paul Getty muuseum (Los Angeles), Louvre'i muuseum (Pariis) ja Metropolitan Museum of Art (New York) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1530s: 7 30 sellel lehel olevat teost on sellel perioodil loodud, მათart közül The Seven Sorrows of the Virgin.
Sellel lehel on kõige vanem teos John the Baptist preaching and the Baptism of Christ (1510) ja kõige värskeim Self-Portrait (1558).
People (5), Woman (4) ja Figures (4), kogu selle lehekülje 30 teose kohta.
Gouache, 3 teoseks 30 töödelt sellel lehel.
Northern renaissance ja Early netherlandish, seda lähtudes selle lehe originaalteostest.
The Seven Sorrows of the Virgin, Villagers on Their Way to Church ja The Temptation of Christ: J. Paul Getty muuseum, Los Angeles säilitab 5 selle lehel olevat teost.
Flandria illuminatsiooni delicate ja luminöösnes maailmas ei ole vähegi nii prestiižne nimi kui Simon Bening. Sageli pidetakse teda madonlandia traditsiooni viimase suure meistrina, kellel oli ainulaadne võime muuta pisikesed ehtestisega pergamentpinnad laiadeks, hingavaks maastikudeks ja sügavaks vaimseks mediteerimiseks. Tema elu oli sügavalt juurdunud Madalma Liikude rikkasse kunstipärandisse; sündinud kas Gentis või Antverpis, alustas ta tõenäoliselt oma teekonda pere töökoda juures, tema isaga, austatud illuminator Alexander Beningiga. See pärand pakkus talle tehnilise suurepärasuse vundamenti, mis võimaldas tal hiljem juhtida ühte Brugge kõige õitsevad töokodadest.
Kuna Bening liikus läbi kunstiliste keskuste Gentis ja Brugges, kasvas tema maine koos tema täiusliku kontrolliga miniatüüride üle. Kuni 1508, oli ta ametlikult liitunud Brugge Püha Johannuse ja Püha Luuka gildiga, mis oli tunnistuskas tema seisukohast professionaalsete eliidi seas. Tema karjääri iseloomustas sujuv üleminek tema esivanemate hilis-gootika tundmustest ja varajase renessanssi ujuva olemuse ning nüanssidest. See kunstiline arenguperiood on ehk kõige emotsionaalsemini vangatud tema teoses Autoportreet, mis on palju rohkem kui lihtsalt sarnasus. Selles miniatüüris esitleb Bening end mitte lihtsalt käsitöömeistrina, vaid intellektuaalina, istudes eemal ja käes prillid — sümboosine viide tema kutse nõutavale täpstalisele jälgimisele ja ühendus Püha Luukaga, maalide kaitsejumalaga.
Beningi loomingulise tööd tõeline võlu peitub tema võimes luua "miniatuurseid maailma", mis kutsuvad vaatajat vaikse kontemplatsiooni olekku. Tema Tunnitund on selle pühendunud kunstilise meistriklassi suurepärane näide, kus iga lehekülg toimib palvetusliku ehtena, mille eesmärk on tuletada usklikele Jumala omnipresentsust. Valo ja varju suurepärase manipuleerimise kaudu saavutas Bening koldimõõtmise tunde, mis ületas tema meediumi väikese skaala. Tema tehnika võimaldas hämmastavat detailide taset, alates luksuslike kangaste peenest tekstuurist kuni atmosfäärilise sügavusega maastikutel, mis ulatuvad kaugele lehekülje piiridest kaugemale.
Lisaks tema tehnilisele tulevikule leiab Beningi ajaloolise tähtsuse tema rollist kui sillana ajastute vahel. Kuigi ta säilitas Genti-Brugges kooli ranged traditsioonid, Embrasseeris tema töö uut humanistlikku fookust detailidele ja naturalismile. Tema saavutused peituvad tema teoste püsivuses maailma prestiižikaimates kollektsioonides, kus need pakuvad edasasti pilguid XVI sajandi vaimsesse ja esteetilisse sissevaatesse. Tema käte läbi jõudis illuminatsiooni efemeerne ilu täiuslikkuse tippkõrgusele, jättes jätkud valguse, värvi ja sügava pühendumuse pärandi.
