Dead Wildfowl
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
Lyhyesti
Dead Wildfowl (1674) on se Jacob Biltius -maalaus, joka herättää eniten huomiota; alkuperäisteos kuuluu museolle Statens Museum for Kunst, Kööpenhamina. Sen jälkeen katse siirtyy kohteisiin Dead Birds (1670) ja Snip, hanging (1663). Jacob Biltiusin 10 teoksemme joukosta nämä 10 ovat kuuluisimpia; jokainen on ainutlaatuinen alkuperäisteos, joka on esitelty vuosiluvun, museon ja sen syyn kera, miksi teos on säilyttänyt suosionsa.
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
Nämä neljä aihetta toistuvat näissä alkuperäisteoksissa useimmin, jokaisesta löytyy hienoin esimerkki.
Tämän sivun teoksista eniten sisältävät 3 museota.
| Museo | Kaupunki | Jacob Biltius teokset | Tämän listan maalaukset |
|---|---|---|---|
| Kööpenhamina | 5 | Dead Wildfowl, Dead Birds, Wildfowl on a Wooden Table | |
| Leeuwarden | 2 | Snip, hanging, Dead Partridge, Hanging | |
| 1 | Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall |
Pitkä 17 vuoden ura, vuodesta 1663 vuoteen 1679: Jacob Biltius'n kuuluisimmat alkuperäisteokset vuosi vuodelta esiteltynä.
Valitse vuosi nähdäksesi alkuperäisteokset.
Lisää teoksia 1666
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
Lisää teoksia 1670
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
Dead Wildfowl (1674), Statens Museum for Kunst, Kööpenhamina. Seuraavina ovat Dead Birds (1670) ja Snip, hanging (1663).
41 vuotta vanha: Dead Wildfowl on peräisin vuodelta 1674, ja Jacob Biltius on syntynyt vuonna 1633.
Dead Wildfowl, Dead Birds, Snip, hanging, Dead Partridge, Hanging, Wildfowl on a Wooden Table, A Dead Hare, A hunting still life with a partridge, a grouse, a hare and hunting paraphernalia, A still life of game and hunting acoutrements, on a stone ledge, Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall ja Dead Wildfowl and a Huntsman's Net. Trompe l'oeil. Yllä oleva sijoitus kertoo kunkin teoksen vuosiluvun ja museon.
Katalogissamme on 10 teosta taiteilijalta Jacob Biltius, aikaväliltä 1663–1679.
Pääasiassa Statens Museum for Kunst (Kööpenhamina), Fries Museum (Leeuwarden) ja Kunsthandel P. de Boer. Yllä oleva museotaulukko listaa ne kaikki.
Aikakaudella 1663: 2 sivun 10 teoksista on tehty silloin, joista Snip, hanging.
Tällä sivulla vanhin on Snip, hanging (1663) ja uusin Dead Wildfowl and a Huntsman's Net. Trompe l'oeil (1679).
Feathers (2) ja Dark background (2), yhteensä 10 teosta tällä sivulla.
Oil On Canvas, 2 teoksesta sivun 10 teoksesta.
Dead Wildfowl, Dead Birds ja Wildfowl on a Wooden Table: Statens Museum for Kunst, Kööpenhamina -ssä on 5 tämän sivun teoksista.
Jacob Biltius was a Dutch still life painter born in The Hague. He began his artistic training in The Hague, studying under the French painter Carel Hardy around 1651, and later trained with Pieter de Putter, who was known for his fish still lifes. His career saw him active in various locations, including The Hague, Amsterdam, Maastricht, Antwerp, Leeuwarden, and Bergen op Zoom. In 1660, he was admitted to the Confrerie Pictura.
Biltius married Adriana Proot van der Jeucht in 1653, and they had eight children, including two sons, Cornelis and Bartholomeus, who both became painters. His movements took him from Amsterdam to Maastricht, and eventually to Flanders, where he settled in Antwerp. While living in Antwerp, he and his wife were members of a secret society of local Calvinists known as de Consistorie van de Brabantsche Olijfberg. He was admitted to the Antwerp Guild of St Luke in the 1672–1673 guild year. He eventually moved to Bergen op Zoom, where he died.
The work of Jacob Biltius is characterized by his focus on still life subjects. He was specifically known for his:
Between 1663 and 1677, Biltius created many trompe-l'œil compositions, acting as a pioneer in the creation of the illusion of three-dimensional objects. His works are noted for a very accurate and precise representation of nature. Some of these compositions were of a large size, which contributed to their realism and illusionistic impact.