Ažurirano Listopad 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 53 djela Jacob Van Loo u našem katalogu
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Iz perspektive galerije, najpoznatije djelo umjetnika Jacob Van Loo je Allegory of Fortune (1655), čiji se original nalazi u muzeju Bavarske državne slikopisne zbirke, München. Bacchus and Ariadne (1650) i Portrait of Thomas Corneille (1660) upotpunjuju triju koju svako oko prepoznaje. Od 53 djela umjetnika Jacob Van Loo u našem katalogu, galerija u nastavku prikazuje 51 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
In Allegory of Fortune, Jacob van Loo presents a dense gathering of figures within a dark, lush woodland. The scene is a complex arrangement of movement and light, where the shadows of the forest press against the illuminated bodies of the subjects. At the heart of this chaotic abundance, a central nude figure appears to float or dance, caught in a moment of weightless grace. This figure anchors a composition…
In Bacchus and Ariadne, Jacob van Loo captures a sudden collision of myth and flesh. Created about 1650, the oil painting freezes the precise moment of a mythological encounter. Bacchus lunges from the left, his movement driven by a sudden discovery. He reaches toward the reclining Ariadne, whose form rests upon the right. The scene is a flash of passion caught against a dark, turbulent sky.
The gaze of an elderly man meets us in the Portrait of Thomas Corneille, a work that captures a quiet moment of contemplation. Created by the artist Jacob van Loo, this oil on canvas presents a single subject, an aged male whose presence fills the frame. His long, wispy hair and weathered features suggest a life of significant experience, frozen here in a moment of serene stillness. The portraiture genre…
The Portrait of a Young Girl by Jacob van Loo brings a quiet presence into the room. Painted about 1650, this work captures a moment of stillness in the life of a child. The subject sits with a poised dignity, her gaze meeting the viewer from across the centuries. There is a sense of a life paused, a single breath held in the soft light of the Dutch Golden Age.
The work before us is titled Amorous Couple, a painting by the Dutch artist Jacob van Loo. Created around 1650, this oil on canvas captures a quiet, private moment between two figures. It is a piece that reflects the artist's specific interest in the nuances of human interaction and the subtle play of light across different textures.
The scene unfolds in a moment of profound tension within the painting titled Susannah and the Elders. Created by the artist Jacob van Loo, this oil on canvas captures a heavy, dramatic instance of religious art. The work is signed and dated in the bottom right corner, where the hand of the painter leaves the mark "J; van Loo fecit 1658."
The oil on canvas work titled Portrait of a Lady was executed by the artist Jacob van Loo in 1647. This half-length portrait depicts a woman seated in a high-backed chair. The subject is positioned against a dark, indistinct background that emphasizes her presence and the details of her attire. The composition focuses on the sitter from the waist up, establishing a direct connection through her orientation toward the viewer.
Jacob van Loo’s Family Portrait of Rutger van Weert and Maria Beels presents a formal and dignified arrangement of seven family members within an outdoor setting. The subjects are organized in a loose pyramidal structure, a composition that establishes a sense of stability and familial unity. This group portrait relies on a rhythmic pattern created by the sharp contrast between somber, dark tones—primarily blacks and deep browns in the clothing—and…
Jacob van Loo painted "Diana and her nymphs, resting after the hunt" about 1648. The oil painting depicts a group of women situated within a mythological setting. These figures are identified as the goddess Diana and her nymphs. The scene captures a specific moment of repose following a hunt, moving away from the active pursuit of prey toward a state of rest.
The scene unfolds within the Allegory of Wealth, an oil on canvas created by the Dutch painter Jacob van Loo. This work emerges from around 1650, capturing a moment of profound abundance. The figures exist in a space defined by their interactions, a hallmark of the artist's approach to narrative painting. Every gesture and glance contributes to the unfolding story of prosperity and its allure.
Portrait of Sophia Huydecoper, née Coymans1655
12
Portrait of Joan Huydecoper1655
13
Portrait of Jan Hinlopen and Leonora Huydecoper1657 · Szépművészeti Múzeum
14
Boy with a Top and Dog1650
15
A Glass and Coral Factory1649 · Statens Museum For Kunst
16
Allegory of feeding the poor1657 · Amsterdam Museum
17
Group portrait of the regents of the Aalmoezeniers, Arm- and Werkhuis in Haarlem, 16591659 · Muzej Fransa Halsa
18
Portrait of Lodewijk Huygens (1631-1699)1649
19
Young Man Reading1650
20
Musician with a wine-glass1651 · Wallraf-Richartz-Museum
21
Portrait of a boy with a dog1658 · Musee Baron Martin
22
Mother with two children1657 · Gemäldegalerie
23
Three Men in a Wine Cellar1664
24
Portrait of Michel Corneille (1661-1664)1663
25
Portrait of a woman1662 · Frederik Muller & Co
26
Diana resting and bathing with her nymphs1665 · Herzog Anton Ulrich Museum
27
Amarillis crowning Blueberry.
28
Indulgent Old Lady1654 · Ermitaž
29
Venus and Cupid1649 · Statens Museum For Kunst
30
Concert1650 · Ermitaž
31
Self Portrait, circa 1660, Jacob van Loo, 1655 - 16651665 · Rijksmuseum
32
Young Woman Going to BedGrand Palais
33
Danae1660 · The Kremer Collection
34
Amaryllis of the Annunciation1649 · Gemäldegalerie
35
Portrait of a Man, thought to be Christoffel van Gangelt, Second Husband of Lucretia Boudaen, Jacob van Loo (attributed to), 1640 - 16701670 · Narodni muzej u Varšavi
36
Portrait of ScientistArt Museum RIGA BOURSE
37
interior - a nude woman - Rhodope
38
A Bacchanal
39
Ariadne.
40
Portrait of Lucretia Boudaen
41
Melancholy
42
Lovers.Rijksmuseum
43
Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 16701670 · Rijksmuseum
44
Diana and Her Nymphs1654 · Statens Museum For Kunst
45
Portrait of a Gentleman
46
Group portrait of the regentesses of AalmoezeniersMuzej Fransa Halsa
47
Danae
48
Portrait of Johan Ort
49
Study of a woman
50
Bacchic sceneRijksmuseum
51
Portrait of the Meebeeck Cruywagen family near the gate of their country home on the Uitweg near Amsterdam.
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 Jacob Van Loo | Slike iz ovog popisa |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 4 | Self Portrait, circa 1660, Jacob van Loo, 1655 - 1665, Lovers., Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 1670 |
 Gemäldegalerie |
Berlin | 3 | Diana and her nymphs, resting after the hunt, Mother with two children, Amaryllis of the Annunciation |
 Statens Museum For Kunst |
Kopenhagen | 3 | A Glass and Coral Factory, Venus and Cupid, Diana and Her Nymphs |
 Musée Condé |
Chantilly | 2 | Portrait of Thomas Corneille, Allegory of Wealth |
 Mauritshuis |
Haag | 2 | Amorous Couple, Portrait of a Lady |
 Muzej Fransa Halsa |
Haren | 2 | Group portrait of the regents of the Aalmoezeniers, Arm- and Werkhuis in Haarlem, 1659, Group portrait of the regentesses of Aalmoezeniers |
 Ermitaž |
Sankt Peterburg | 2 | Indulgent Old Lady, Concert |
 Bavarske državne slikopisne zbirke |
München | 1 | Allegory of Fortune |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
The oil on canvas work titled Portrait of a Lady was executed by the artist Jacob van Loo in 1647. This half-length portrait depicts a woman seated in a high-backed chair. The subject is positioned against a dark, indistinct background that emphasizes her presence and the details of her attire. The composition focuses on the sitter from the waist up, establishing a direct connection through her orientation toward the viewer.
In Allegory of Fortune, Jacob van Loo presents a dense gathering of figures within a dark, lush woodland. The scene is a complex arrangement of movement and light, where the shadows of the forest press against the illuminated bodies of the subjects. At the heart of this chaotic abundance, a central nude figure appears to float or dance, caught in a moment of weightless grace. This figure anchors a composition…
The gaze of an elderly man meets us in the Portrait of Thomas Corneille, a work that captures a quiet moment of contemplation. Created by the artist Jacob van Loo, this oil on canvas presents a single subject, an aged male whose presence fills the frame. His long, wispy hair and weathered features suggest a life of significant experience, frozen here in a moment of serene stillness. The portraiture genre…
Portrait of a man, presumably Christopher van Gangelt, second husband of Lucretia Boudaen. Kneepiece, standing, with the right hand in the side. Pendant of SK-A-3750.
Allegory of Fortune (1655), Bavarske državne slikopisne zbirke, München. Nakon njih slijede Bacchus and Ariadne (1650) i Portrait of Thomas Corneille (1660).
41 godina: Allegory of Fortune datira iz 1655, a Jacob Van Loo je rođen/a 1614.
Allegory of Fortune, Bacchus and Ariadne, Portrait of Thomas Corneille, Portrait of a Young Girl, Amorous Couple, Susannah and the Elders, Portrait of a Lady, Family Portrait of Rutger van Weert and Maria Beels, Diana and her nymphs, resting after the hunt i Allegory of Wealth. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 53 djela umjetnika Jacob Van Loo, datiranih od 1644 do 1670.
Većinom u Rijksmuseum (Amsterdam), Gemäldegalerie (Berlin) i Statens Museum For Kunst (Kopenhagen). Gornja tablica muzeja navodi sve njih.
U 1650s: 19 od 51 djela na ovoj stranici nastalo je tada, od čega je Allegory of Fortune Allegory of Fortune.
Na ovoj stranici najstarije djelo je iz Family Portrait of Rutger van Weert and Maria Beels (1644), a najnovije iz Portrait of a Man, thought to be Christoffel van Gangelt, Second Husband of Lucretia Boudaen, Jacob van Loo (attributed to), 1640 - 1670 (1670).
Woman (15), Man (12) i Dark background (9), kroz svih 51 djela na ovoj stranici.
Oil On Canvas, za 21 od 51 djela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
Self Portrait, circa 1660, Jacob van Loo, 1655 - 1665, Lovers. i Portrait of a Woman, thought to be Lucretia Boudaen (1616-1663), Wife of Jean Ortt and Second Wife of Christoffel van Gangelt, Jacob van Loo (attributed to), 1640 - 1670: Rijksmuseum, Amsterdam posjeduje 4 djela s ove stranice.
Rođen u Sluisu, užurbanom lučkom gradu u Ujedinjenim Provincijama 1614. godine, život Jacoba van Loa bio je neraskidivo povezan s dinamičnim umjetničkim strujama njegova vremena. Njegove su rane godine oblikovao otac Jan van Loo, slikar koji mu je u temelje utkao razumijevanje tehnike i umjetničkog senzibiliteta. Iako detalji o njegovom formativnom razdoblju ostaju pomalo skriveni zbog ratnog uništenja gradskih arhiva, jasno je da je Van Loov umjetnički put započeo unutar bogatog tkanja Nizozemskog zlatnog doba – ere poznate po inovativnim stilovima slikarstva i brojnim talentiranim umjetnicima. Njegova obiteljska povijest od iznimne je važnosti; otac mu je bio slikar, a ta loza će na kraju uspostaviti dinastiju slikara koja će zauvijek utjecati na europsku umjetnost.
Amsterdam je 1635. godine brzo postao Van Loov drugi dom, uranjajući ga u dinamičan umjetnički krug koji su činile legende poput Rembrandta, Fransa Halsa i Bartholomeusa van der Helsta. Takvo okruženje poticalo je intenzivnu konkurenciju i suradnju, pomerajući granice umjetničkog izražavanja. Užurbana atmosfera grada nedvojbeno je potaknula njegovu kreativnost, pružajući mu neprestan protok inspiracije i izazivajući ga da usavrši svoje vještine. Godine 1642. oženio je Annu Lengele, brakom koji je donio stabilnost i doprinio rastućem utjecaju obitelji u svijetu umjetnosti. Njihovo su se domaćinstvo razvijalo s šest djece, među kojima su bili talentirani slikari Jean-Baptiste van Loo i Louis-Abraham van Loo, uspostavljajući naslijeđe koje će se protezati daleko izvan njegovog vlastitog života.
Van Loo se istaknuo svojom majstorskom vladavinom nad „interaktivnim skupinama“ (conversational groupings), tehnikom koja je revolucionirala žanr povijesini slikarstva. Za razliku od ranijih prikaza, koji su mitološke ili biblijske scene često predstavljali kao statične i formalne događaje, Van Lom je svoje platna naselio živahnim, upečatljivim likovima uhvaćenima u trenucima interakcije – dijalozima, gestama i izrazima lica koji su u priču udahnuli život. Ovaj pristup nije bio samo dekorativan; on je slikama dao osjećaj neposrednosti i realizma, uvlačeći gledatelje izravno u središte scene.
Njegova je vještina posebno blistala u prikazima aktova, teme koja se u to vrijeme često smatrala hrabrom. Dok su Rembrandtovi ženski likovi slavljeni zbog svoje psihološke dubine i emocionalne rezonance, Van Loovi aktovi su stekli iznimnu popularnost među publikom. Neki su suvremeni kritičari čak sugerirali da su njegovi ženski oblici bili omiljeniji od onih njegovog amsterdamskog rivala. Ova preferencija govori o javnom uvažavanju njegove tehničke virtuoznosti i idealizirane ljepote koju je dočarao na platnu. Značajno je, pritom, da su tijekom njegovog života njegovi ženski likovi smatrani superiornijima i popularnijima od Rembrandtovih.
Umjetnički razvoj Jacoba van Loa nedvojbeno su oblikovali ključni utjecaji. Rani kontakti s Thomasom de Keyserom i Jacobom Adriaenszem Backerom pružili su mu čvrste temelje u klasičnim tehnikama i kompoziciji. Ti susreti izložili su ga principima renesansne umjetnosti, koje je vješto integrirao u vlastiti stil. Pokret baroka, koji je proizašao u Rimu, također je ostavio značajan trag, doprinoseći dramatičnom osvjetljenju, bogatoj koloristici i dinamičnim pozama karakterističnim za njegovo djelo.
Njegov boravak u Parizu pokazao se presudnim, označavajući preokret prema većoj eleganciji i profinjenosti. Godine 1663. primljen je u Académie royale de peinture et de sculpture, čime je učvrstio svoj položaj unutar francuskog umjetničkog etabliranja. Ovaj potez nije označavao samo profesionalno napredovanje, već i produbljivanje njegovog sudjelovanja u evoluciji ukusa i konvencija pariskog svijeta umjetnosti.
Utjecaj Jacoba van Loa protegao se daleko izvan njegovog vlastitog životnog vijeka. Njegov uspjeh utemeljio je „obitelj slikara Van Loo“, dinastiju koja je stoljećima duboko utjecala na europsko slikarstvo. Njegov sin, Jean-Baptiste van Locio, nastavio je obiteljsku tradiciju, stvarajući djela iznimne kvalitete i uspostavljajući poseban umjetnički stil. Njegov unuk, Charles-André van Loo, dodatno je proširio obiteljsko naslijeđe, postajući jedan od najslavnijih francuskih slikara 18. stoljeća.
Utjecaj dinastije Van Loo vidljiv je u djelima sljedećih generacija, što pokazuje kontinuiranu evoluciju i prilagodbu inovativnih tehnika njegovog oca. Pionirski pristup kompoziciji, majstorstvo u prikazivanju akata i uspostava trajne umjetničke loze učvrstili su njegovo mjesto kao ključne figure u povijesti nizozemske i francuske umjetnosti. Njegova djela i dalje se proučavaju i dive zbog svoje ljepote, dinamike i neprolazne privlačnosti.
Više informacija o Jacobu van Loou možete pronaći u Bazi podataka umjetnika te detaljnom Wikipedia članku: Wikipedia.
