Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 37 djela Jan Wildens u našem katalogu
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Od svih originala koje je Jan Wildens ostavio, najpoznatiji je Landscape with hunters (1649) u kolekciji muzeja Kunsthistorisches Museum, Beč. Samo iza njih slijede Landscape with Christ and his Disciples on the Road to Emmaus (1640) i Landscape with Rocky Formations (1600). Naš katalog sadrži 37 djela umjetnika Jan Wildens; galerija je čuvala onih 36 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
In the quietude of Jan Wildens’ 1640 masterpiece, Landscape with Christ and his Disciples on the Road to Emmaus, the viewer is invited into a moment of profound spiritual stillness. This monumental canvas does not merely depict a biblical event; it orchestrates a meditation on faith set against the restorative backdrop of the natural world. As we gaze upon the rolling hills and the dusty, winding path, we find ourselves…
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
In this oil painting, titled Landscape; loving couples at breakfast, Jan Wildens presents a pastoral scene that invites a quiet contemplation of rural life. Created about 1611, the work captures several couples gathered in a meadow, enjoying a meal together in the open air. The figures are situated within a lush, natural setting, surrounded by the soft textures of a rolling landscape. There is a sense of calm in their…
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
Landscape with the Devil Sowing Tares by Jan Wildens, executed about 1635, presents a biblical allegory set within a wooded environment. The composition centers on the Parable of the Tares, a narrative of spiritual deception. A single figure, representing the Devil, moves through the terrain to sow weeds among the wheat.
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
The sun hangs low on the horizon, casting a warm, diffused glow across a sprawling landscape that feels as though it is breathing. In this wide, panoramic scene, the air seems thick with the quiet tension of a fated encounter. Rebekah stands by the well, her presence a focal point amidst a gathering of travelers, camels, and livestock. The light of the setting sun catches the edges of the figures,…
The oil painting titled Boar Hunt was executed by the Flemish artist Jan Wildens. This work is a copy of a painting originating from the workshop of Peter Paul Rubens. It captures a moment of intense movement within the forest, rendered with the specific hand of Wildens. The piece dates to about 1640.
Pastorale1643 · Rubens House
12
August, harvest
13
Landscape with Dead Oak1600 · Museum Mayer van den Bergh
14
Landscape with figures1601 · Muzej Prado
15
Forest Landscape with Stream1619
16
Landscape with shearers1613 · Muzej Prado
17
Travellers at the ferry launch1617 · New York Historical Society
18
Landscape with a rainbow and lumberjacks1621 · Gemäldegalerie
19
Marshy Countryside1629 · Szépművészeti Múzeum
20
Landscape with Shepherds1631 · Koninklijk Museum voor Schone Kunsten
21
Landscape with love couple1640 · Kunsthistorisches Museum
22
Landscape with Thunderstorm1649 · Bavarske državne slikopisne zbirke
23
Landscape with Hunt of Meleager and Atalanta1650 · Kraljevski muzej fine umjetnosti u Antverpenu
24
Landscape with Gentlefolk and GypsiesMuzej likovnih umjetnosti
25
Panoramic View of Antwerp from the East, Jan Wildens, 16361636 · Rijksmuseum
26
Stag huntErmitaž
27
Horse Attacked by DogsErmitaž
28
Mercury and Argus
29
Road on the bank of the stream
30
A wooded landscape with a figure on horseback and shepherds with their flock on a path, a castle bayond
31
Wolves Attacking a HorseErmitaž
32
Joseph sold by his BrothersFundación Banco Santander
33
Infant Christ and St. John the Babtist in a landscape.Narodni muzej u Varšavi
34
The St. Bernard Abbey in HemiksemKraljevski muzej fine umjetnosti u Antverpenu
35
Landscape with Peasants
36
Winter Landscape with a Hunter1624 · Gemäldegalerie
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 Jan Wildens | Slike iz ovog popisa |
|---|---|---|---|
 Ermitaž |
Sankt Peterburg | 5 | Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape, Stag hunt |
 Bavarske državne slikopisne zbirke |
München | 3 | Latona and the Lycian Peasants, Boar Hunt, Landscape with Thunderstorm |
 Kunsthistorisches Museum |
Beč | 2 | Landscape with hunters, Landscape with love couple |
 Museum Mayer van den Bergh |
Antwerp | 2 | Landscape with Rocky Formations, Landscape with Dead Oak |
 Muzej Prado |
Madrid | 2 | Landscape with figures, Landscape with shearers |
 Kraljevski muzej fine umjetnosti u Antverpenu |
Antverp | 2 | Landscape with Hunt of Meleager and Atalanta, The St. Bernard Abbey in Hemiksem |
 Yekaterinburg Museum of Fine Arts |
Jekaterinburg | 1 | Transformation of Women into Magpies |
 Royal Collection |
London | 1 | Landscape with the Devil Sowing Tares |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
Landscape with Hunt of Meleager and Atalanta by Jan Wildens, executed about 1650, presents a dramatic scene set within a dense, wooded environment. The composition centers on a group of hunters, horses, and hounds engaged in a frantic pursuit. This activity likely represents the mythological hunt of Meleager and Atalanta.
Landscape with hunters (1649), Kunsthistorisches Museum, Beč. Nakon njih slijede Landscape with Christ and his Disciples on the Road to Emmaus (1640) i Landscape with Rocky Formations (1600).
63 godina: Landscape with hunters datira iz 1649, a Jan Wildens je rođen/a 1586.
Landscape with hunters, Landscape with Christ and his Disciples on the Road to Emmaus, Landscape with Rocky Formations, Latona and the Lycian Peasants, Landscape; loving couples at breakfast, Transformation of Women into Magpies, Landscape with the Devil Sowing Tares, Hunter with Dogs in a Landscape, Rebekah and Eliezer at the well (Genesis 24:18-19) i Boar Hunt. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 37 djela umjetnika Jan Wildens, datiranih od 1600 do 1650.
Većinom u Ermitaž (Sankt Peterburg), Bavarske državne slikopisne zbirke (München) i Kunsthistorisches Museum (Beč). Gornja tablica muzeja navodi sve njih.
U 1640s: 6 od 36 djela na ovoj stranici nastalo je tada, od čega je Landscape with hunters Landscape with hunters.
Na ovoj stranici najstarije djelo je iz Landscape with Rocky Formations (1600), a najnovije iz Landscape with Hunt of Meleager and Atalanta (1650).
Trees (18), Landscape (15) i Sky (15), kroz svih 36 djela na ovoj stranici.
Oil On Canvas, za 17 od 36 djela na ovoj stranici.
Flemish baroque, sudeći po originalima na ovoj stranici.
Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape i Stag hunt: Ermitaž, Sankt Peterburg posjeduje 5 djela s ove stranice.
Jan Wildens, rođen u živopisnom srcu Antverpije 1586. godine, predstavlja ključnu figuru u flamanskoj baroknoj tradiciji pejzaža. Njegovo umjetničko naslijeđe počiva na pedantno izvedenim scenama prožetim dubokim osjećajem spokoja i realizmom—stiliziranim obilježjem koje je učvrstilo njegovu reputaciju uz lumeniere kao što su Peter Paul Rubens i Jan Bril. Za razliku od mnogih svojih suvremenika koji su prihvaćali dramatičnu teatralnost i turbulentne kompozicije, Wildens je njegovao estetiku utemeljenu na oštrom promatranju i suptilnom detalju. Posjedovao je jedinstvenu sposobnost da uhvati samu esenciju ruralnog života, kao i urbane vidike, predstavljajući svijet ne kroz prizmu kaosa, već kroz prozor tihe, neprolazne ljepote.
Temelji njegovog majstorstva položeni su tijekom formativnog mladunstva u Antverpenju. Dok je njegov otac, Hendrick Wildens, bio ugledan trgovac, Janov je put bio predodređen za platno. Nakon ocačinjine smrti, odgajala ga je majka Magdalena van Vosbergen i njezin drugi muž, Cornelis Cock. To obiteljsko okruženje stavilo ga je u krug velikih majstora, budući da je Cock bio očuhad Cornelisa de Vosa, što je povezivalo Jana s samom tkivom umjetničke elite Antverpa. Sa samo šesnaest godina, Wildens je ušao u prestižnu Antverpku gildiju svetog Luke, kao šegrt pod Pieterom van der Hulstom (I). Pod tim mentorstvom, ovladao je temeljnim tehnikama pejzažne kompozicije i svjetla, razvijajući precizan vizualni jezik koji će mu kasnije omogućiti da odiše život i u prostranim panoramama i u intimnim biblijskim scenama.
Najznačajnije poglavlje u Wildensovoj blagorodnoj karijeri bilo je nesumnjivo njegovo duboko umjetničko partnerstvo s Peter Paul Rubensom. To nije bio samo odnos učitelja i učenika, već istinsko suradništvo ravnopravnih umjetnika koje je uzdiglo žanr pejzaža unutar baroknog pokreta. Njihov zajednički rad obuhvatio je brojne monumentalne projekte, a najznačajniji je bio zadivljujući serijal tapiserija "Decius Mus" koji je naručio kardinal Ferdinand. U tim grandioznim kompozicijama, Wildensu je povjeren zadatak stvaranja atmosferskih gradskih pejzaža koji su služili kao scena za povijesnu dramu, specifično pridonijevši dva veličanstvena pogleda na veličinu Antverpa. Ova asocijacija omogućila je Wildensu da spoji svoj talent za detaljirani realizam s Rubensovom epskom narativnom skalom, lansirajući ga na vrhove europskog priznanja.
Osim ovih velikih narudžbi, Wildens je pokazao nevjerojatnu svestranost u tematici. Njegova sposobnost prijelaza s arhitektonske preciznosti urbanih pejzaža na duhovnu tišinu religijskih narativa vidljiva je u njegovom raznolikom korpusu djela. Na primjer:
Povijesni značaj Jana Wildensa leži u njegovoj ulozi mosta između detaljne, opservacijske tradicije kasnog Renesanse i prostranijih, emotivnijih pejzaža visokog baroka. Izbjegao je zamku puke dekorativnosti, umjesto toga koristeći pejzaž kako bi uzemljiio velike narative u opipljivu, prepoznatljivu stvarnost. Njegov rad pružio je esencijalni "dah" za iznimno velike figure Rubensovih kompozicija, nudeći osjećaj mjesta koji je mitološke i povijesne scene učinio stvarnima u fizičkom svijetu.
Dok se osvrtamo na njegov život, koji je završen 1653. godine, vidimo umjetnika koji je ovladao umjetnošću suptilnosti. Kroz svoju posvećenost svjetlu, teksturi i atmosferi, Wildens je osigurao da se flamanski pejzaži ne pamte samo kao pozadine, već kao neprolazni likovi u priči o zapadnoj umjetnosti. Njegova sposobnost pronalaska iznimnog u običnom nastavlja očaravati kolekcionere i povjesničare, služeći kao svjedočanstvo snage postojanja mirnog, promatranja vrijednog oka.
