Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 123 teosta taiteilijalta Bartholomaeus Bruyn Vanhempio luettelossamme
Lyhyesti
Portrait of a knight (1531) on se Bartholomaeus Bruyn Vanhempio -maalaus, joka herättää eniten huomiota; alkuperäisteos kuuluu museolle Kunsthistorisches Museum, Wien. Sen jälkeen katse siirtyy kohteisiin Portrait of Wilhelm Kannengiesser (1550) ja Portrait of Elisabeth Bellinghausen (1530). Bartholomaeus Bruyn Vanhempioin 123 teoksemme joukosta nämä 100 ovat kuuluisimpia; jokainen on ainutlaatuinen alkuperäisteos, joka on esitelty vuosiluvun, museon ja sen syyn kera, miksi teos on säilyttänyt suosionsa.
The gaze of the sitter meets us directly in Portrait of a knight, a work that carries the weight of a specific identity. Painted by Bartholomaeus Bruyn the Elder, the image captures a man whose status is etched into his very presence. While the title identifies him simply as a knight, other names for this same figure suggest a more specific history. He is known in some circles as a…
A single light source strikes from the upper left, carving the face of Wilhelm Kannengiesser out of a heavy, dark silence. He sits in a three-quarter view, his gaze directed toward the right, fixed on something beyond the frame. His beard is a stark, white landscape of fine lines, contrasting sharply against the deep black of his heavy garment. This fabric falls in thick, sculptural folds, absorbing the light and…
To look upon this portrait is to encounter a moment of quiet intention from the year 1538. This is not a grand, sweeping scene, but an intimate half-length study of Elisabeth Bellinghausen, rendered with the meticulous precision characteristic of the Northern Renaissance. She is presented against a deep, solid blue background that pushes her figure forward, making the textures of her attire feel almost tangible. There is a certain stillness…
Margaretha von Mochau sits before us, her presence steady and dignified in the soft light of 1524. She is twenty-six years old, caught in a quiet moment of poise that feels as though it might break at any second. Her gaze is calm, directed slightly away, while her pale skin glows against the deep, atmospheric green of the background. She wears a heavy black garment, its weight suggested by the…
The sitter, Cardinal Bernhardus Clesius, is presented in a medium close-up, captured from the waist up against a deep green backdrop. His expression is solemn and contemplative, projecting a sense of gravity and ecclesiastical weight. He is draped in heavy, saturated red robes and a matching cap, the folds of which are defined by sharp, purposeful lines that suggest the substantial weight of silk or satin. Light enters from the…
The work titled Portrait of a young man holding gloves presents a quiet study of identity. Created by the artist Bartholomaeus Bruyn The Elder, the painting captures a single figure in a moment of stillness. The subject is a young man, his presence defined by the weight of his dark attire and the steady gaze directed toward the viewer. He holds gloves, a small detail that anchors the composition and…
The portrait presents a woman in a medium close-up, positioned slightly off-center and facing toward the left. She is depicted against a dark, undifferentiated background that pushes her figure into the foreground. Her attire consists of a heavy black gown and a white headpiece that creates sharp, defined folds. Around her neck, a delicate white ruff or pleated linen collar provides a textural contrast to the smooth, dark fabric of…
In this oil on panel, titled Virgin and Child with Saint Anne, Saint Gereon, and a Donor, we encounter a significant example of the German Renaissance. The work is attributed to Bartholomaeus Bruyn the Elder, a painter who was active in Cologne. Measuring 78.4 x 57.9cm, the panel presents a complex arrangement of figures that bridges the gap between the divine and the earthly through its specific iconographic program.
Crucifixion Altar: Saint Agnes and Donor is an oil on panel work by Bartholomaeus Bruyn the Elder. Created between 1515 and 1520, the piece reflects the stylistic developments of the German Renaissance. The composition is characterized by a vertical orientation, measuring 0.322m x 0.97m.
The composition is a dense, multi-layered arrangement that fills the frame from foreground to background. At the center of this celestial and earthly convergence lies the infant Jesus, whose presence emanates a divine light that cuts through the nocturnal shadows. Surrounding the manger are the Virgin Mary, Joseph, and various angels, all rendered with the meticulous detail characteristic of the German Renaissance. The scene is framed by the sharp architectural…
Virgin and Child with Saint Margaret and Dorothy and angels playing music1517 · Bavarian State Painting Collections
12
Christ on the cross with the saints Peter, Mary, Mary Magdalene, John the Evangelist and Barbara, with three donors1517 · Bavarian State Painting Collections
13
Pietà1514 · National Museum in Warsaw
14
Cyriacus Cycle: Saint Cyriacus Baptizes Arthemia1532 · Bavarian State Painting Collections
15
Lamentation Altarpiece, Outer Wing: Saint Suitbert1531 · Bavarian State Painting Collections
16
Cyriacus Cycle: Death of Saint Cyriacus1532 · Bavarian State Painting Collections
17
Cyriakus Cycle: Saint Cyriacus is Welcomed by the Persian King1532 · Bavarian State Painting Collections
18
Lamentation Altarpiece: Saint Stephen with the Donor Stephan Vell von Wevelinghoven1531 · Bavarian State Painting Collections
19
Lamentation Altarpiece: A Saint with the Donor Bernhard (?) von Huchtenbroich1531 · Bavarian State Painting Collections
20
Lamentation Altarpiece, Outer Wing: Saint Kunibert1531 · Bavarian State Painting Collections
21
Cyriakus Cycle: Emperor Diocletian Shakes Hands with Saint Cyricus1532 · Bavarian State Painting Collections
22
Cyriacus Cycle: Saint Cyriacus Delivers Jobia from the Evil Spirit1532 · Bavarian State Painting Collections
23
Christ Bids Farewell to His Mother1532 · Wallraf-Richartz-Museum
24
Sybilla von Aich, born Reidt, with four daughters1520 · Bavarian State Painting Collections
25
Christ carrying the cross1520 · Bavarian State Painting Collections
26
Donor image of the Cologne patrician family Rinck: Virgin Mary1530 · Bavarian State Painting Collections
27
Donor image of the Cologne patrician family Rinck: Saint Anne1530 · Bavarian State Painting Collections
28
Johann von Aich, mayor of Cologne, with his two sons1520 · Bavarian State Painting Collections
29
The lamentation of Christ1531 · Bavarian State Painting Collections
30
The martyrdom of Saint Cyriacus1532 · Bavarian State Painting Collections
31
Wing of an Altarpiece: Saint Catherine and a Donor1521 · Bavarian State Painting Collections
32
Portrait Diptych of Johann von Rolinxwerth and his Wife, Christine von Sternberg1529 · Mauritshuis
33
Saint Barbara1520
34
Saint Bartholomew1520
35
Adoration of the Magi1525 · National Museum of Fine Arts
36
Christ appearing to Mary Magdalene1520 · National Museum in Warsaw
37
The Annunciation1520 · National Museum in Warsaw
38
The Nativity1520 · Thyssen-Bornemisza Museum
39
Portrait of a Young Man1528 · Royal Museum of Fine Arts Antwerp
40
Crucifixion1532 · Wallraf-Richartz-Museum
41
Homo bulla: A Boy Blowing Bubbles1532 · Germanisches Nationalmuseum
42
Adoration of the magi1532 · Wallraf-Richartz-Museum
43
Mary with the child, adored by the Duke of Cleves1528 · Gemäldegalerie
44
Portrait of a Man, traditionally said to be Roger, Count Blitterswyk-Geldern1528 · Harvard Art Museums
45
Christ appearing before Mary1520 · National Museum in Warsaw
46
Portrait of a Woman with Rosary and Carnation1547 · Gemäldegalerie
47
Portrait of Chancellor Balthasar von Kerpen1535 · Kunstmuseum
48
Portrait of Sibylla Kessel1542 · Städel Museum
49
Portrait of Peter Heyman1542 · Städel Museum
50
Portrait of an unknown family: a father with his three sons1549 · Bavarian State Painting Collections
51
Passion Altarpiece of the Siegen Family: Left Panels1540 · Bavarian State Painting Collections
52
Passion Altarpiece of the Siegen Family: Right Panels1540 · Bavarian State Painting Collections
53
Donor image of the Cologne patrician family Rinck: Christ Crowned with Thorns1540 · Bavarian State Painting Collections
54
Passion Altarpiece of the Siegen family: Central Panel1540 · Bavarian State Painting Collections
55
Margarethe von Aich (1517–1570)1540 · Museum of Fine Arts
56
Johann von Aich (1510–1549)1540 · Museum of Fine Arts
57
Man's portrait with armour, rear: child wifh skull1544 · Wallraf-Richartz-Museum
58
Portrait of a Woman1534 · Gemäldegalerie
59
Portrait of a Woman1537 · Harvard Art Museums
60
Portrait of a Man1537 · Harvard Art Museums
61
Portrait of a Man1550 · Bavarian State Painting Collections
62
Rinck Altar II: Saint Benedict1550 · Bavarian State Painting Collections
63
Saint Barbera and the donor Sibylla Rinck-Kannegießer1550 · Bavarian State Painting Collections
64
Rinck-Altar II:Saint Catherine with donor Hermann Rinck1550 · Bavarian State Painting Collections
65
Portrait of a Man with a Book1550 · Bonnefanten Museum
66
Lamentation over the dead Christ1550 · Musée des Beaux-Arts
67
Kreuzigungs-Triptychon, St. Andreas Köln1550
68
Portrait of a Woman1565 · Saint Louis Art Museum
69
Portrait of a Woman of the Slosgin Family of Cologne1557 · Metropolitan Museum of Art
70
Portrait of a Young Woman with a Pink1660 · Walters Art Museum
71
Bacchus with putti1747 · Plantin–Moretus-museo
72
Portrait of Scholar Petrus von Clapis1528 · Szépművészeti Múzeum
73
Vanitas Still-lifeKröller-Müllerin taidemuseo
74
Portrait of a Woman1539 · Thyssen-Bornemisza Museum
75
Portrait of a Woman1541 · Yale University Art Gallery
76
German, )1493
77
Crucifixion of christ1515 · Böttcherstraße Museums
78
Portrait of a Woman1533 · Metropolitan Museum of Art
79
Portrait of a Man1533 · Metropolitan Museum of Art
80
Portrait of a Man with Three Sons1530 · Hermitage-museo
81
Burgomaster Arnold von Brauweiler1535 · Wallraf-Richartz-Museum
82
Crucifixion Altar: Emperor Henry II the SaintBavarian State Painting Collections
83
Crucifixion Altar: Saint HelenaBavarian State Painting Collections
84
Portrait of a Man (Vanitas Portrait)Bavarian State Painting Collections
85
Appearance of the Risen Christ before MaryBavarian State Painting Collections
86
Crucifixion Altar: Saint Bishop (Lambertus of Liège?) with FoundressBavarian State Painting Collections
87
Portrait of Johannes Draconites
88
Resurrection of ChristRoyal Museum of Fine Arts Antwerp
89
Portrait of a ManRoyal Museum of Fine Arts Antwerp
90
Portrait of a WomanRoyal Museum of Fine Arts Antwerp
91
Triptych with DonorsRoyal Museum of Fine Arts Antwerp
92
Portrait of a ManRoyal Museum of Fine Arts Antwerp
93
Portrait of a Lady
94
Portrait of a Man
95
Portrait of a clergymanNational Museum in Warsaw
96
CATHERINE DE BORECondé-museo
97
Saint Jérôme pénitent
98
PHILIPP VON GAILLouvre
99
PORTRAIT D'HOMME AVERS
100
PORTRAIT DE FEMME
#9 Crucifixion Altar: Saint Agnes and Donor
#10 The Nativity with the Donors Peter von Clapis and Bela Bonenberg
#11 Virgin and Child with Saint Margaret and Dorothy and angels playing music
#12 Christ on the cross with the saints Peter, Mary, Mary Magdalene, John the Evangelist and Barbara, with three donors
#13 Pietà
Nämä neljä aihetta toistuvat näissä alkuperäisteoksissa useimmin, jokaisesta löytyy hienoin esimerkki.
Tämän sivun teoksista eniten sisältävät 8 museota.
| Museo | Kaupunki | Bartholomaeus Bruyn Vanhempio teokset | Tämän listan maalaukset |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 34 | Crucifixion Altar: Saint Agnes and Donor, Virgin and Child with Saint Margaret and Dorothy and angels playing music, Christ on the cross with the saints Peter, Mary, Mary Magdalene, John the Evangelist and Barbara, with three donors |
 Royal Museum of Fine Arts Antwerp |
Antwerpen | 6 | Portrait of a Young Man, Resurrection of Christ, Portrait of a Man |
 Wallraf-Richartz-Museum |
Köln | 7 | Christ Bids Farewell to His Mother, Crucifixion, Adoration of the magi |
 National Museum in Warsaw |
Varsova | 5 | Pietà, Christ appearing to Mary Magdalene, The Annunciation |
 Kunsthistorisches Museum |
Wien | 3 | Portrait of a knight, Cardinal Bernhardus Clesius, Portrait of a young man holding gloves |
 Städel Museum |
Frankfurt | 3 | The Nativity with the Donors Peter von Clapis and Bela Bonenberg, Portrait of Sibylla Kessel, Portrait of Peter Heyman |
 Gemäldegalerie |
Berliini | 3 | Mary with the child, adored by the Duke of Cleves, Portrait of a Woman with Rosary and Carnation, Portrait of a Woman |
 Harvard Art Museums |
Cambridge | 3 | Portrait of a Man, traditionally said to be Roger, Count Blitterswyk-Geldern, Portrait of a Woman, Portrait of a Man |
Valitse vuosikymmen nähdäksesi sen määrittäneen alkuperäisteoksen.
Crucifixion Altar: Saint Agnes and Donor is an oil on panel work by Bartholomaeus Bruyn the Elder. Created between 1515 and 1520, the piece reflects the stylistic developments of the German Renaissance. The composition is characterized by a vertical orientation, measuring 0.322m x 0.97m.
Margaretha von Mochau sits before us, her presence steady and dignified in the soft light of 1524. She is twenty-six years old, caught in a quiet moment of poise that feels as though it might break at any second. Her gaze is calm, directed slightly away, while her pale skin glows against the deep, atmospheric green of the background. She wears a heavy black garment, its weight suggested by the…
The gaze of the sitter meets us directly in Portrait of a knight, a work that carries the weight of a specific identity. Painted by Bartholomaeus Bruyn the Elder, the image captures a man whose status is etched into his very presence. While the title identifies him simply as a knight, other names for this same figure suggest a more specific history. He is known in some circles as a…
The artwork titled Portrait of a Woman with Rosary and Carnation is a painting by Bartholomaeus Bruyn the Elder. This work is dated 1547. The subject is presented in a half-length composition, positioned slightly off-center against a dark, muted green background. The sitter faces toward the left of the frame, wearing an elaborate headpiece of white and gold fabric with flowing white veils. Her attire consists of a black bodice…
A single light source strikes from the upper left, carving the face of Wilhelm Kannengiesser out of a heavy, dark silence. He sits in a three-quarter view, his gaze directed toward the right, fixed on something beyond the frame. His beard is a stark, white landscape of fine lines, contrasting sharply against the deep black of his heavy garment. This fabric falls in thick, sculptural folds, absorbing the light and…
Portrait of a knight (1531), Kunsthistorisches Museum, Wien. Seuraavina ovat Portrait of Wilhelm Kannengiesser (1550) ja Portrait of Elisabeth Bellinghausen (1530).
38 vuotta vanha: Portrait of a knight on peräisin vuodelta 1531, ja Bartholomaeus Bruyn Vanhempio on syntynyt vuonna 1493.
Portrait of a knight, Portrait of Wilhelm Kannengiesser, Portrait of Elisabeth Bellinghausen, Portrait of Margaretha von Mochau, wife of Gerhard von Westerburg, Cardinal Bernhardus Clesius, Portrait of a young man holding gloves, Portrait of a Woman with a Prayer Book, Virgin and Child with Saint Anne, Saint Gereon, and a Donor, Crucifixion Altar: Saint Agnes and Donor ja The Nativity with the Donors Peter von Clapis and Bela Bonenberg. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.
Katalogissamme on 123 teosta taiteilijalta Bartholomaeus Bruyn Vanhempio, aikaväliltä 1514–1550.
Pääasiassa Bavarian State Painting Collections (München), Royal Museum of Fine Arts Antwerp (Antwerpen) ja Wallraf-Richartz-Museum (Köln). Yllä oleva museotaulukko listaa ne kaikki.
Aikakaudella 1530s: 29 sivun 100 teoksista on tehty silloin, joista Portrait of a knight.
Tällä sivulla vanhin on Pietà (1514) ja uusin Portrait of Wilhelm Kannengiesser (1550).
Man (40), Woman (34) ja Landscape (20), yhteensä 100 teosta tällä sivulla.
Oil On Panel, 77 teoksesta sivun 100 teoksesta.
Northern renaissance, tämän sivun alkuperäisteosten perusteella.
Crucifixion Altar: Saint Agnes and Donor, Virgin and Child with Saint Margaret and Dorothy and angels playing music ja Christ on the cross with the saints Peter, Mary, Mary Magdalene, John the Evangelist and Barbara, with three donors: Bavarian State Painting Collections, München -ssä on 34 tämän sivun teoksista.
Bruynin varhaiset vuodet ja koulutus pysyvät osittain mysteerinä, mutta on uskottu, että hän sai ensimmäiset taiteelliset koulutuksensa Düsseldorfissa. Siellä hän toimi oppipoikana Johann Schädel I:lle, kuuluisalle kuvanveistojalle ja maalari-taiteilijalle, joka tunnettiin työstään Pyhän Elisabetin katedraalin koristelussa. Hänen tyylinsä kytkeytyy tiiviisti pohjoisen renessanssin muotokuvataiteen vallitseviin suuntauksiin. Bruyn suosi huolellista havainnointia ja anatomista tarkkuutta käyttäen öljyväriä paneelille – tekniikka, joka mahdollisti aikakaudelle ominaiset hienovaraiset sävyskaalot ja valoisan laadun. Hänen sommitelmissaan taustat olivat usein hillittyjä, mikä korosti mallin kasvoja ja vaatetuksen laskoksia, ohjaten katsojan huomion kohti psykologista syvyyttä.
Bruynin taiteellinen maine vahvistui hänen tuottavan lukuisia muotokuvia, joita tilasivat aatelissuvut ympäri Baijeria. Hänen kuuluisimpien teostensa joukossa on ”Kallo syvennyksessä”, joka on pysäyttävä kuvaus ihmisen kuolevaisuuden humanistisesta pohdiskelusta, sekä ”Naisen muotokuva”, joka ilmentää renessanssin taiteilijoiden suosimaa ihanteellista kauneutta. Lisäksi hän suoritti merkittäviä tilauksia kirkollisille instituutioille, mikä osoitti hänen monipuolisuutensa taiteilijana ja varmisti hänen paikkansa Würzburgin taiteellisissa piireissä. Chicagon taideinstituutti kantaa yhtä Bruynin mestariteoksista – miehen muotokuvan – joka tarjoaa korvaamatonta tietoa hänen taiteellisesta taituruudestaan.
”Kallo syvennyksessä” esittelee Bruynin kyvyn välittää monimutkaisia tunteita symbolisen kuvaston kautta, mikä resonoi hänen aikansa humanistisen filosofisen pohdiskelun kanssa. ”Naisen muotokuva” puolestaan ilmentää renessanssin naisellisen kauneuden ihannetta – arvokasta asentoa ja seesteistä ilmettä – heijastaen aikakauden taiteellisia konventioita. ”Miehen muotokuva” puolestaan osoittaa Bruynin mestaruuden anatomisessa esittämisessä ja psykologisessa muotokuvauksessa, vangiten kohteen luonteen hämmästyttävällä hienovaraisuudella.
Bartholomaeus Bruyn Vanhemman taiteelliset saavutukset saivat varmasti vaikutteita humanistisista ihanteista, joita puolustivat taiteilijat kuten Albrecht Dürer ja Hans Holbein nuorempi. Nämä hahmot asettivat etusijalle tieteellisen havainnoinnin ja anatomisen tarkkuuden – periaatteet, jotka Bruyn omaksui ahkerasti omaan työönsä. Hänen huolellinen tekniikkansa ja ilmeikkäät muotokuvansa herättävät edelleen ihailua taidehistorioitsijoiden keskuudessa, vahvistaen hänen asemansa saksalaisen renessanssin keskeisenä taiteilijana. Hänen tuotantonsa pysyvä lumoavuus korostaa hänen merkitystään Baijerin ja sitä laajemmalle taideperinnölle.
