Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 47 djela Johann Carl Loth u našem katalogu
Ukratko
Selene and Endymion (1670) je slika autora Johann Carl Loth koja privlači najviše pogleda; original se nalazi u muzeju Rijksmuseum, Amsterdam. Nakon toga, pogled se usmjerava na Jacob Blesses Ephraim and Manasseh (1692) i Old Peasant Lighting a Pipe (1660). Među 47 djela umjetnika Johann Carl Loth u našem katalogu, ovih 46 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
In this dramatic oil painting, we find ourselves witnessing a moment of profound stillness and longing. The scene captures the mythological meeting between Selene, the personification of the Moon, and the sleeping Endymion. The composition moves with a heavy, diagonal energy, pulling the eye from the upper left down toward the lower right, following the curve of the figures. Endymion lies in a deep, earthly slumber, his muscular form rendered…
In this 1692 oil on canvas, an aged, semi-nude patriarch leans forward to bestow a blessing upon two young boys, Ephraim and Manasseh. The composition is tightly packed, utilizing a dynamic, triangular formation that directs the viewer's eye toward the central elderly figure. The scene captures a moment of profound interpersonal drama, where the physical presence of the figures is emphasized through heavy drapery and muscular contours. Light falls theatrically…
A single, focused light source pierces a heavy darkness, illuminating a weathered face in a moment of profound concentration. This profile view captures an elderly man as he attends to a clay pipe, the thin stem acting as a visual guide through the composition. The scene is defined by a stark chiaroscuro, where deep shadows recede into an indeterminate background, pushing the subject into the immediate foreground. Every wrinkle in…
In the oil painting Music Lesson by Johann Carl Loth, the artist employs an oval composition to frame a tightly cropped scene. The figures are arranged in a triangular formation, a structural choice that directs the viewer's eye toward the central action. A muscular male figure plays a pan flute, or syrinx, while an older man wearing a laurel wreath observes or instructs a younger woman. This arrangement creates a…
A muscular, bearded man emerges from a dark, near-black background in this 1650 oil painting. He is positioned in a tight, close-up composition that focuses on his upper torso and head. His skin is rendered with detailed musculature, particularly across the shoulder, chest, and arm. A single light source, a lit candle contained within a handheld lantern, casts sharp highlights onto his anatomy. This light creates a strong chiaroscuro effect,…
In Susannah and the Elders, Johann Carl Loth brings a heavy, dramatic tension to the canvas. The scene unfolds from a narrative found within the Old Testament, capturing a moment of profound intrusion. Susannah finds herself cornered by two men, their presence a sudden and unsettling weight in her private space. The air feels thick with the gravity of this confrontation, as the figures press into a tight, triangular arrangement…
In The Exposure of the Infant Moses, Johann Carl Loth captures a heavy moment from the Book of Exodus. The scene centers on a small infant resting in a vessel upon the ground. A muscular man reaches toward the child, his body taut with effort. To the side, a woman collapses in grief, her hand pressed against her forehead as she faces a moment of profound despair. The weight of…
In this dramatic Baroque oil painting, titled Christ Appears to Saint Anthony, Johann Carl Loth captures a profound mystical encounter. Created about 1665, the work focuses on the intimate connection between the Christ Child and the saint. The composition centers on the upper bodies of these two figures, drawing the viewer into a private moment of spiritual presence. The Christ Child is depicted as a plump, nude infant leaning forward…
The Penitent Mary Magdalene emerges from the shadows as a profound oil painting by Johann Carl Loth. Created about 1665, the work captures a singular moment of spiritual intensity. The subject gazes upward, caught in a state of deep devotion that feels immediate and alive. Every brushstroke contributes to the weight of her presence within the frame.
This oil painting, titled John the Baptist, was executed by the German Baroque painter Johann Carl Loth. The work dates to about 1665. It presents a vertical portrait that focuses on the head and the upper torso of the subject. The figure is a muscular man characterized by a beard and a gaze directed upward and to his right. He is depicted in a state of intense spiritual or emotional…
Christ on the Cross1665 · Bavarske državne slikopisne zbirke
12
Adoration of the Shepherds1665 · Bavarske državne slikopisne zbirke
13
David with the Head of Goliath1665 · Bavarske državne slikopisne zbirke
14
Mockery of Christ1665 · Bavarske državne slikopisne zbirke
15
Isaac Blesses Jacob1665 · Bavarske državne slikopisne zbirke
16
The Shame of Noah1674 · Bavarske državne slikopisne zbirke
17
The Dying Seneca1665 · Bavarske državne slikopisne zbirke
18
The Rescue of Agrippina, Mother of Nero1665 · Bavarske državne slikopisne zbirke
19
Boy in Armor1665
20
Cato the Younger's Death1672 · Statens Museum For Kunst
21
Saint Joseph with the Christ Child1680 · Bavarske državne slikopisne zbirke
22
Holy Family with the Christ Child John1680 · Bavarske državne slikopisne zbirke
23
Saint John the Baptist1680 · Slovačka nacionalna galerija
24
Saint Paul1675 · Narodni muzej u Varšavi
25
Faun playing the flute.1675 · Narodni muzej u Varšavi
26
Martyrdom of Gerard of Csanád1677 · Musée des Beaux-Arts de Strasbourg
27
Holy Family and God the Father1681 · San Silvestro
28
The Guardian Angel and Archangel Michael1691 · Bavarske državne slikopisne zbirke
29
Saint Dominic Receives the Rosary1691 · Bavarske državne slikopisne zbirke
30
The Death of Cato.1700 · Narodni muzej u Varšavi
31
Abraham Visited by the Angels
32
Death of St Peter Martyr1691 · Bazilika svetih Ivana i Pavla
33
Lowering of Moses into the Nile (Amram and Jochebed lowering their son Moses in a basket into the Nile)1700 · Ernest Zmeták Art Gallery
34
Apollo, Pan, and MarsyasStaatliche Museen zu Berlin
35
Eliezer i Rebeka na Česmu1670 · Ermitaž
36
Self-PortraitBavarske državne slikopisne zbirke
37
The Crowning with thornsFinnish National Gallery
38
Saint SebastianNarodní galerie Praha
39
Kampf des Jakob mit d. Engel ?
40
Adam and EveKedleston Hall
41
Lot and His Daughters
42
Samson and DelilahFondazione Brescia Musei
43
Mercury Piping to ArgusNational Gallery
44
Jupiter and Mercury at Philemon and BaucisKunsthistorisches Museum
45
The Good SamaritanKunsthistorisches Museum
46
The Good Samaritane1676 · Kunstsammlungen Graf von Schönborn
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Johann Carl Loth | Slike iz ovog popisa |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 17 | The Exposure of the Infant Moses, Christ Appears to Saint Anthony, The Penitent Mary Magdalene |
 Kunsthistorisches Museum |
Beč | 3 | Jacob Blesses Ephraim and Manasseh, Jupiter and Mercury at Philemon and Baucis, The Good Samaritan |
 Narodni muzej u Varšavi |
Varšava | 3 | Saint Paul, Faun playing the flute., The Death of Cato. |
 Rijksmuseum |
Amsterdam | 1 | Selene and Endymion |
 Art Institute of Chicago |
Chicago | 1 | Old Peasant Lighting a Pipe |
 Muzeum Pałacu Kralja Jana III w Wilanowie |
Varšava | 1 | Music Lesson |
 Minneapolis Institute of Art |
Minneapolis | 1 | Diogenes |
 J. Paul Getty Museum |
Los Angeles | 1 | Susannah and the Elders |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In the oil painting Music Lesson by Johann Carl Loth, the artist employs an oval composition to frame a tightly cropped scene. The figures are arranged in a triangular formation, a structural choice that directs the viewer's eye toward the central action. A muscular male figure plays a pan flute, or syrinx, while an older man wearing a laurel wreath observes or instructs a younger woman. This arrangement creates a…
A single, focused light source pierces a heavy darkness, illuminating a weathered face in a moment of profound concentration. This profile view captures an elderly man as he attends to a clay pipe, the thin stem acting as a visual guide through the composition. The scene is defined by a stark chiaroscuro, where deep shadows recede into an indeterminate background, pushing the subject into the immediate foreground. Every wrinkle in…
In this dramatic oil painting, we find ourselves witnessing a moment of profound stillness and longing. The scene captures the mythological meeting between Selene, the personification of the Moon, and the sleeping Endymion. The composition moves with a heavy, diagonal energy, pulling the eye from the upper left down toward the lower right, following the curve of the figures. Endymion lies in a deep, earthly slumber, his muscular form rendered…
This religious painting, titled Saint Joseph with the Christ Child, offers a quiet moment of devotion. The work is an oil on canvas by the artist Johann Carl Loth. It captures a tender, intimate connection between the figures, rendered with a focus on the soft textures of skin and cloth. The composition draws the viewer into a private, sacred space through its careful arrangement of light and shadow.
In this 1692 oil on canvas, an aged, semi-nude patriarch leans forward to bestow a blessing upon two young boys, Ephraim and Manasseh. The composition is tightly packed, utilizing a dynamic, triangular formation that directs the viewer's eye toward the central elderly figure. The scene captures a moment of profound interpersonal drama, where the physical presence of the figures is emphasized through heavy drapery and muscular contours. Light falls theatrically…
Selene and Endymion (1670), Rijksmuseum, Amsterdam. Nakon njih slijede Jacob Blesses Ephraim and Manasseh (1692) i Old Peasant Lighting a Pipe (1660).
38 godina: Selene and Endymion datira iz 1670, a Johann Carl Loth je rođen/a 1632.
Selene and Endymion, Jacob Blesses Ephraim and Manasseh, Old Peasant Lighting a Pipe, Music Lesson, Diogenes, Susannah and the Elders, The Exposure of the Infant Moses, Christ Appears to Saint Anthony, The Penitent Mary Magdalene i John the Baptist. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 47 djela umjetnika Johann Carl Loth, datiranih od 1650 do 1692.
Većinom u Bavarske državne slikopisne zbirke (München), Kunsthistorisches Museum (Beč) i Narodni muzej u Varšavi (Varšava). Gornja tablica muzeja navodi sve njih.
U 1660s: 13 od 46 djela na ovoj stranici nastalo je tada, od čega je Old Peasant Lighting a Pipe Old Peasant Lighting a Pipe.
Na ovoj stranici najstarije djelo je iz Music Lesson (1650), a najnovije iz Jacob Blesses Ephraim and Manasseh (1692).
Man (28), Drapery (15) i Skin (11), kroz svih 46 djela na ovoj stranici.
Oil On Canvas, za 22 od 46 djela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
The Exposure of the Infant Moses, Christ Appears to Saint Anthony i The Penitent Mary Magdalene: Bavarske državne slikopisne zbirke, München posjeduje 17 djela s ove stranice.
U suncem okupanoj, teatralnoj atmosferi sedamnaestog stoljeća u Veneciji, malo je umjetnika uspjelo uhvatiti duboku napetost između božanskog i zemaljskog tako majstorski kao Johann Carl Loth. Rođen oko 1632. godine u Münchenu, u okviru bavarskog kurijatnog elektora, Loth je bio slikar čiji je identitet premostio robusne tradicije njemačke umjetnosti s blistavim, emotivnim sjajem talijanskog baroka. Iako njegovo ime možda ne odzvanja s istim kućnim prepoznatljivošću kao Titian, njegovo prisustvo u venetskom krajoliku bilo je monumentalno. Slavio ga je biograf Arnold Houbraken kao jednog od tri velika majstora umjetnosti koji nose ime "Karel"—ugledna titula koja ga je postavila uz svjetionike poput Karla Duijerdina i Carla Maratte, označavajući njegov dolazak među elitu europskog slikarstva.
Lothovo umjetničko putovanje započelo je pod budnim okom njegovog oca, Johann Ulricha Lotha, slikara koji je osigurao temeljnu tehničku rigoroznost koja će kasnije omogućiti sinu eksperimentiranje s tako velikim razmjerima. Ova rani trening u Münchenu uviođen je discipliniran pristup kompoziciji, no upravo je njegov odlazak u Veneciju istinski zapalio njegovu kreativnu dušu. U vibrantnom venetskom okruženju, Loth je upio utjecaj Giovana Battista Langettija, usvajajući stil definiran chiaroscurom—dramatičnom igrom svjetla i sjene—te sklonost tenebrizmu. Ova tehnika omogućila mu je da iz tame izroni figure, prožimajući njegova platna osjećajem težine, misterije i duhovne hitnosti koji je postao njegov neprepoznatljiv potpis.
Pravo briljantno djelo Lothovog opusa leži u njegovoj sposobnosti transformirati platno u scenu za najepičnije narative ljudske povijesti. Specijalizirao se za povijesne slike velikih dimenzija, često karakterizirane gusto naseljenim, prepunim grupnim scenama koje su zahtijevale nevjerojatnu kompozicijsku vještinu. Njegove teme izvlačile su se iz izvorišta klasične mitologije i dubina Staroga zavjeta, tretirane ne samo kao ilustracije, već kao živi, dišući drami. Bilo da je prikazivao nebesku intervenciju bogova ili mučene pokušaje biblijskih patrijaraha, Loth je koristio paletu živopisnih boja i opušten, izražajni potez kistom kako bi potaknuo intenzivnu emociju.
Ovu majstorstvo možemo vidjeti u djelima kao što je Jupiter i Merkur kod Philemona i Baucisa, gdje se božansko prisustvo osjeća kroz iznenadnu, prosvjetljujuću svjetlost koja prožima skromno okruženje smrtne kolibe. Slično tome, njegove religijske kompozicije, poput Djece Božje i Boga Oca, pokazuju duboku kontrolu nad atmosferskom dubinom i sakralnom intimnošću. Njegova sposobnost tkanja složenih ljudskih emocija—predanosti, straha, divljenja i obiteljske ljubavi—u ove velike narative osigurala je da njegov rad odjekuje daleko izvan granica Italije, privlačeći pažnju prestižnih pokrovitelja, uključujući car Emicera Leopolda I iz havzurskog dvora u Beču.
Lothova karijera nije bila usamljeni poduhvat, već ona obilježena značajnom umjetničkom sinergijom. U Veneciji je sudjelovao u plodnim suradnjama s kolegama majstorima poput Pietra Liberija, radeći zajedno na ispunjavanju ambicioznih narudžbi koje su podizile standarde povijesnog pripovijedanja. Njegov studio postao je svjetionik za ambiciozne talente; mentorirao je generaciju slikara, uključujući Michaela Wenzela Halbaxa i Johanna Michaela Rottmayra, osiguravajući da njegovi stilski obeležja—dramatično osvjetljenje i teatralne kompozicije—prostruju kroz iduće desetljeća barokne umjetnosti. Čak i izvan svijeta slikarstva, Lothova reputacija privlačila je imućne putnike i umjetnike, poput Cornelisa de Bruyna, u njegove vrata, čineći njegov studio vitalnim čvorom u europskoj umjetničkoj mreži.
Kako se približavao kraju života, boraveći u Veneciji do svoje smrti 1698. godine, Loth je osigurao naslijeđe koje je nadraslo njegove njemačke korijene. Bio je slikar koji je mogao vladati i intimnom tamom pojedinačne figure i kaotičnom energijom mnoštva. Danas se njegova djela nalaze u nekim od najuglednijih svjetskih institucija, od Umjetničkog povijesnog muzeja u Beču do Ermitaže u Sankt Peterburgu. Kroz svoju sposobnost spajanja strukturne discipline svog mladunčastog doba s emotivnom fluidnošću venetske škole, Johann Carl Loth ostaje nedvojbeni glas barokne ere, podsjećajući nas na vrijeme kada je umjetnost bila grandiozno, teatralno težnje prema uzvišenom.
