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Nymph and Shepherd (1625) je slika autora Johann Liss koja privlači najviše pogleda; original se nalazi u muzeju Metropolitan Museum of Art, New York. Nakon toga, pogled se usmjerava na Temptation of Saint Anthony (1614) i The Apostle Paul (1614). Među 33 djela umjetnika Johann Liss u našem katalogu, ovih 31 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
The Apostle Paul emerges from the shadows of history in this striking portrait by Johann Liss. Created about 1614, the work captures a moment of profound spiritual intensity. The subject is an elderly man, his features weathered by time and his spirit ignited by divine inspiration. He is identified as the Apostle Paul, a figure of immense weight in religious tradition, appearing here with a sense of urgent, living presence.
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A pale, luminous figure lies amidst the dark textures of a cavernous landscape. This reclining nude female rests upon a bed of grass and white drapery, her body catching a soft, directional light that pulls her from the surrounding gloom. She faces away, her posture relaxed and heavy with sleep. Around her, the world is composed of craggy, dark rocky masses and deep, earthy tones of ochre and brown. The…
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
A youthful figure emerges from a heavy, dark void. This is Cupid, the god of desire, caught in a moment of quiet tension. His skin possesses a luminous, fleshy quality that seems to hold its own light against the surrounding gloom. He holds a single arrow diagonally across his chest, a sharp instrument of fate held with a soft, unstudied grace. The composition pulls the viewer into an intimate space,…
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Temptation of Saint Anthony1660 · Bavarske državne slikopisne zbirke
12
The Ecstasy of St Paul1628 · Staatliche Museen zu Berlin
13
The Prodigal Son1625 · Academy of Fine Arts Vienna
14
Untitled (D2X6GG)1626 · Metropolitan Museum of Art
15
A Bacchanalian Feast1617 · Fitzwilliam College
16
Judith in the Tent of Holofernes1622 · National Gallery
17
The Fall of Phaeton1624 · National Gallery
18
Adam and Eve Mourning for Abel1624 · Gallerie dell'Accademia di Venezia
19
The Vision of St Jerome1627 · San Nicola da Tolentino
20
Franciscan MonkStatens Museum For Kunst
21
A lute player
22
MOISE SAUVE DES EAUXPalais des Beaux-Arts de Lille
23
E Dirck van der Blind Mans Buff
24
Abel mourned by his parents
25
The Satyr and the Peasant1626 · National Gallery of Art
26
Venus and Adonis1625 · Staatliche Kunsthalle Karlsruhe
27
Smrt Kleopatře1622 · Alte Pinakothek
28
Žrtva Isaaka1624 · Gallerie dell'Accademia di Venezia
29
Judith and Holophernes1628 · Kunsthistorisches Museum
30
Apollo and Marsyas1627 · Gallerie dell'Accademia di Venezia
31
Venus in front of the Mirror1625 · Galleria degli Uffizi
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 Liss | Slike iz ovog popisa |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 4 | Temptation of Saint Anthony, The Apostle Paul, Temptation of Saint Anthony |
 Gallerie dell'Accademia di Venezia |
Venecija | 3 | Adam and Eve Mourning for Abel, Žrtva Isaaka, Apollo and Marsyas |
 Metropolitan Museum of Art |
New York | 2 | Nymph and Shepherd, Untitled (D2X6GG) |
 Statens Museum For Kunst |
Kopenhagen | 2 | Sleeping Nymph, Franciscan Monk |
 National Gallery |
London | 2 | Judith in the Tent of Holofernes, The Fall of Phaeton |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kassel | 1 | A Game of Morra |
 Szépművészeti Múzeum |
Budimpešta | 1 | Village Wedding Procession |
 Germanisches Nationalmuseum |
Nürnberg | 1 | The prodigal son at the prostitutes |
15 godina razmika između prvog i posljednjeg datiranog originala umjetnika Johann Liss prikazanog ovdje, 1614 i 1628: svaka godina ima svoje mjesto u nastavku.
Odaberite godinu kako biste vidjeli originalna djela.
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
Još od 1614
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A large dining table draped in white cloth anchors the scene, a pale island amidst a sea of movement. Figures cluster around this center, their bodies caught in various states of repose and action. Some sit, anchored by the weight of the feast, while others stand, their limbs tracing arcs through the air. The air feels thick with the energy of a communal celebration, a moment of shared indulgence frozen…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Još od 1620
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
Još od 1622
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Još od 1624
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
Još od 1625
In the vast tapestry of the 17th-century Baroque era, where the theatrical shadows of Caravaggio and the luminous interiors of Vermeer often command the spotlight, there exists a more intimate, whispered form of storytelling. Johann Liss’s “The Temptation of Saint Mary Magdalen,” completed around 1626, serves as a profound testament to this subtle mastery. The painting captures a pivotal moment of spiritual and psychological tension, inviting the viewer into a…
Još od 1626
The air in the room feels heavy with the weight of a sudden, celestial intrusion. St. Jerome sits amidst the quietude of his devotion, an old man whose white beard catches the light, marking him as a soul weathered by years of study and solitude. He is not alone. The stillness is broken by the presence of angels, their forms appearing as if they have just stepped through the veil…
Još od 1627
To gaze upon The Ecstasy of St Paul is to be enveloped in a moment so transcendent it seems plucked directly from the annals of divine revelation. This painting does not merely depict an event; it captures the very breath of spiritual rapture. At its heart, St. Paul is suspended, his outstretched arms reaching not just toward the heavens, but into a palpable emanation of grace. The composition centers on…
Još od 1628
Nymph and Shepherd (1625), Metropolitan Museum of Art, New York. Nakon njih slijede Temptation of Saint Anthony (1614) i The Apostle Paul (1614).
28 godina: Nymph and Shepherd datira iz 1625, a Johann Liss je rođen/a 1597.
Nymph and Shepherd, Temptation of Saint Anthony, The Apostle Paul, Curse of Cain, A Game of Morra, Village Wedding Procession, Sleeping Nymph, The prodigal son at the prostitutes, Cupid (Amor) i Temptation of Saint Anthony. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 33 djela umjetnika Johann Liss, datiranih od 1614 do 1628.
Većinom u Bavarske državne slikopisne zbirke (München), Gallerie dell'Accademia di Venezia (Venecija) i Metropolitan Museum of Art (New York). Gornja tablica muzeja navodi sve njih.
U 1624: 4 od 31 djela na ovoj stranici nastalo je tada, od čega je Temptation of Saint Anthony Temptation of Saint Anthony.
Na ovoj stranici najstarije djelo je iz Temptation of Saint Anthony (1614), a najnovije iz The Ecstasy of St Paul (1628).
Man (10), Woman (9) i People (7), kroz svih 31 djela na ovoj stranici.
Oil On Canvas, za 14 od 31 djela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
Temptation of Saint Anthony, The Apostle Paul i Temptation of Saint Anthony: Bavarske državne slikopisne zbirke, München posjeduje 4 djela s ove stranice.
Johann Liss, poznat i kao Jan Lys, stoji kao blistava figura unutar njemačkog baroknog pokreta 17. stoljeća, slikar čije je putovanje kroz Europu odražavalo vibrirajuće, promjenjive struje njegovog doba. Rođen u Schleswig-Holsteinu, u Njemačkoj, točnije u Oldenburgu, Lissovo rano djetinjstvo oblikovale su stroge umjetničke tradicije njegove domovine. Njegov put kao umjetnika bio je put stalnog kretanja i duboke transformacije, dok se pomicaoo od sjevernih krajeva Njemačke prema velikim umjetničkim središćima kontinenta. Kroz studije kod Hendricka Goltziusa u Haarlemu i Amsterdamu, upijao je tehničko majstorstvo nizozemske tradicije prije nego što je krenuo na putovanja koja će ga voditi kroz Pariz i u samo srce Italije.
Evolucija Lissovog stila predstavlja očaravajućiu studiju umjetničke adaptacije. Njegovo rano razdoblje, obilježeno boravkom u Rimu oko 1620. – 1622. godine, otkriva duboku povezanost s dramatičnom tenzijom Caravaggia. Tijekom tih formativnih godina, njegova platna definirao je oštri, snažni kontrasti svjetla i sjene, tehnika koja je temeljnim religijskim i mitološkim motivima podarila neposrednu, visceralnu prisutnost. Međutim, kako se selio prema Veneciji, njegova paleta prošla je kroz veličanstvenu metamorfozu. Somberne dubine njegove rimske faze ustupile su mjesto živopisnom obradi slikarske površine, koju su karakterizirale briljantne boje i opušteni, energični potezi kistom koji su poputo činili da platno diše od života.
Liss je posjedovao rijetku sposobnost navigacije kroz dualne sfere svetog i profanog, tretirajući biblijske narative i klasične mitove s jednakom emocionalnom intenzitetom. U svojim religijskim djelima, kao što je Žrtva Izakov, koristio je baroknu estetiku za istraživanje dubokih tema vjere, poslušnosti i božanskog djelovanja. Često je te teške teološke trenutke postavljao uz prostrane, pedantno izvedene pejzaže, stvarajući napetost između monumentalne težine svetog pisma i prirodnog svijeta. Njegovi prikazi božanstva nikada nisu bili puke statične slike; pulsirali su osjećajem pokreta i psihološke dubine koja je uhvatila religioznu žar 17. stoljeća.
Nasuprot tome, njegova mitološka djela omogućavala su senzualnije istraživanje ljudskog oblika i klasičnih legendi. U djelima poput Venera i Adonis, Liss je prihvaćao usnijuću estetiku ljepote i žudnje, koristeći ulje na bakar kako bi postigao suptilne tonalne varijacije koje su pojačale emocionalnu težinu Ovidijevih tragedija. Bilo da je prikazivao tragični kraj Kleopatre ili božanski sud u djelu Apollo i Marsjas, njegov rad je dosljedno težio prema tome da nadrasne puku pripovijedanje. Okrenuo se sirovoj snazi emocije, koristeći gust impasto i dinamične kompozicije kako bi osigurao da svaki mitološki susret djeluje istovremeno drevno i iznimno živ.
Značaj Johanna Lissa proteže se daleko izvan njegovih pojedinačnih platana, jer su njegove stilske inovacije pomogle otvoriti put budućim generacijama slikara. Njegov kasniji venecijanski stil, s naglaskom na svjetlo, boju i određenu fluidnu spontanost, djelovao je kao preteča rococo pokreta. Energični potezi kistova pronađeni u njegovom radu mogu se vidjeti kao rani utjecaj na velike braću Guardi, a njegova sposobnost integracije stranih utjecaja u venecijansku tradiciju ostavila je trajan trag umjetničkom krajoliku Republike.
Njegov utjecaj najjasnije se osjeća u lozi majstora 18. stoljeća. Djela Sebastiana Riccia, Giovannija Battista Tiepola i Giovannija Piazzetta nose odjeke sjajnosti i pokreta koje je Liss pionirski uveo. Iako mu je život prekinula kuga u Veroni, ostavivši za sobom naslijeđe i pobožnih biblijskih tema i senzualnih mitoloških priča, on ostaje vitalna karika u lancu barokne izvrsnosti. Bio je slikar koji je ovladao umjetnošću transformacije, pretvarajući sjene Rima u blistavo svjetlo Venecije.
