Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 27 djela Jean-Baptiste Van Loo u našem katalogu
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Od svih originala koje je Jean-Baptiste Van Loo ostavio, najpoznatiji je Frederick, Prince of Wales (1707-51) (1742) u kolekciji muzeja Buckingham Palace, London. Samo iza njih slijede Robert Walpole (1740) i The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire (1740). Naš katalog sadrži 27 djela umjetnika Jean-Baptiste Van Loo; galerija je čuvala onih 27 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.
The Prince stands in a quiet, vertical command. He is draped in heavy velvet, a deep blue that absorbs the light, trimmed with the stark, soft white of ermine. To his side, a table holds a crown, its gold catching a single, sharp light. The background is a dark, indistinct void, pushing his figure forward into the viewer's space. Every fold of his satin clothing carries the weight of his…
This portrait of Robert Walpole, 1st Earl of Orford, was executed by the French artist Jean-Baptiste van Loo in 1740. It was originally painted for Lord Bessborough, capturing a man of significant political weight during a period of stability in Britain. The sitter is presented in his official capacity, wearing the robes of the Chancellor of the Exchequer. This specific depiction by Jean-Baptiste van Loo offers a direct look at…
The portrait depicts The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire, in a three-quarter length pose. He is positioned slightly off-center, facing the viewer with a direct gaze. The subject wears a powdered wig and a blue velvet frock coat over a cerulean blue waistcoat. Gold embroidery traces the edges of the waistcoat and the cuffs. A white lace cravat and delicate lace cuffs provide a sharp contrast to the…
In this 1740 oil on canvas, we encounter Sir Robert Walpole not as a man of action, but as a man of profound influence. The composition is a vertical three-quarter length portrait, positioning the subject slightly off-center to create a sense of monumental presence. He is draped in the heavy, luxurious fabrics of the 18th century, where the stiffness of the embroidered coat meets the softness of a lace cravat.…
Augusta, Princess of Wales (1719-72) emerges from the canvas through the brush of Jean-Baptiste van Loo. This formal portrait captures the Princess in a moment of quiet, regal poise. The French portrait painter Jean-Baptiste van Loo brings a sense of high social status to her likeness, utilizing a composition that emphasizes her nobility. Every detail of her ceremonial attire speaks to a life of immense wealth and importance within the…
In this 1720 oil painting, we witness a scene of profound spiritual movement. The composition is built upon a strong diagonal, pulling the eye from the celestial heights down into the heavy, shadowed confines of a prison. An angel descends through a rift of golden light, breaking the gloom to reach for Saint Peter. The light is not merely a visual element; it is the primary actor in the scene,…
The sky is a heavy, swirling mass of grey and muted blue. From this celestial weight, Diana descends. She moves in a sweeping upward arc, her body twisting with a grace that defies the gravity of the rocky landscape below. Her skin holds a luminous quality, catching a light that seems to fall from a realm beyond the clouds. She is draped in fabric of deep blue and dark green,…
In this portrait, Jean-Baptiste van Loo presents Catherine Opalińska, Queen of Poland. Painted about 1725, the work captures a woman of significant historical standing. Catherine held the position of Queen consort and Grand Duchess consort of the Polish–Lithuanian Commonwealth on two separate occasions. Her life was defined by the complex political landscapes of the eighteenth century, moving between the courts of Europe as a figure of high nobility.
Created about 1730, Apollo and Daphne by Jean-Baptiste van Loo captures the precise moment of metamorphosis. The scene follows the nymph Daphne as she attempts to escape the pursuit of Apollo. This mythological transformation marks the origin of the laurel tree and its enduring connection to the god.
The Portrait of Marie Leszczyńka. is an oil on canvas work executed by the French portrait painter Jean-Baptiste van Loo. Dated 1725, the painting depicts Marie Leszczyńska, who held the position of Queen of France as the wife of King Louis XV. The subject was born at the Château de Fontainebleau. She was the daughter of Stanislaus I Leszczyński and Catherine Opalińska.
Love Leaving Psyche1744 · Opera House
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Portrait Of 4th Earl Of Chesterfield (1694-1773)1740 · Birmingham Museum and Art Gallery
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Portrait Of Sir Richard Temple, 4th Viscount of Birmingham1740 · Birmingham Museum and Art Gallery
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John Hervey, 1st Earl of Bristol (1665-1751)1742 · Ickworth
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Lord John Hervey, 2nd Baron Hervey of Ickworth, PC, MP (1696-1743) holding his Purse of Office as Lord Privy Seal1741 · Ickworth
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Horatio Walpole, 1st Baron Walpole of Wolterton (1678-1757)1739 · Hardwick Hall
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Augusta, Princess of Wales with Members of her Family and Household1739 · Royal Collection
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Young Louis XV, in Cuirass1750
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Portrait of Louis XV1750
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Louis XV, king of France and Navarre1723 · Château de Versailles
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King Louis XV With Armor in His Tent (El Rey Luis XV Con Armadura en Su Tienda)Zaragoza Museum
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The Bath of DianaMusée des Beaux-Arts
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William Murray, 1st Earl of MansfieldMuzej fine umjetnosti u Houstonu
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Portrait of a Lady (Madame Favart) in a pink and white striped dress
25
Portrait of Catherine Opalińska as Queen of Poland
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Triumph of Galatea1720 · Ermitaž
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William Murray, 1st Earl of Mansfield1737 · National Portrait Gallery
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 Jean-Baptiste Van Loo | Slike iz ovog popisa |
|---|---|---|---|
 Buckingham Palace |
London | 2 | Frederick, Prince of Wales (1707-51), Augusta, Princess of Wales (1719-72) |
 National Portrait Gallery |
London | 2 | Robert Walpole, William Murray, 1st Earl of Mansfield |
 Ermitaž |
Sankt Peterburg | 2 | Portrait of Sir Robert Walpole, Triumph of Galatea |
 Opera House |
Versailles | 2 | Catherine Opalińska, Queen of Poland, Love Leaving Psyche |
 Château de Versailles |
Versailles | 2 | Portrait of Marie Leszczyńka., Louis XV, king of France and Navarre |
 Birmingham Museum and Art Gallery |
Birmingham | 2 | Portrait Of 4th Earl Of Chesterfield (1694-1773), Portrait Of Sir Richard Temple, 4th Viscount of Birmingham |
 Ickworth |
Suffolk County | 2 | John Hervey, 1st Earl of Bristol (1665-1751), Lord John Hervey, 2nd Baron Hervey of Ickworth, PC, MP (1696-1743) holding his Purse of Office as Lord Privy Seal |
 Yale Center for British Art |
New Haven | 1 | The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In this 1720 oil painting, we witness a scene of profound spiritual movement. The composition is built upon a strong diagonal, pulling the eye from the celestial heights down into the heavy, shadowed confines of a prison. An angel descends through a rift of golden light, breaking the gloom to reach for Saint Peter. The light is not merely a visual element; it is the primary actor in the scene,…
The sky is a heavy, swirling mass of grey and muted blue. From this celestial weight, Diana descends. She moves in a sweeping upward arc, her body twisting with a grace that defies the gravity of the rocky landscape below. Her skin holds a luminous quality, catching a light that seems to fall from a realm beyond the clouds. She is draped in fabric of deep blue and dark green,…
The Prince stands in a quiet, vertical command. He is draped in heavy velvet, a deep blue that absorbs the light, trimmed with the stark, soft white of ermine. To his side, a table holds a crown, its gold catching a single, sharp light. The background is a dark, indistinct void, pushing his figure forward into the viewer's space. Every fold of his satin clothing carries the weight of his…
Frederick, Prince of Wales (1707-51) (1742), Buckingham Palace, London. Nakon njih slijede Robert Walpole (1740) i The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire (1740).
58 godina: Frederick, Prince of Wales (1707-51) datira iz 1742, a Jean-Baptiste Van Loo je rođen/a 1684.
Frederick, Prince of Wales (1707-51), Robert Walpole, The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire, Portrait of Sir Robert Walpole, Augusta, Princess of Wales (1719-72), Saint Peter Delivered from Prison, Diana and Endymion, Catherine Opalińska, Queen of Poland, Apollo and Daphne i Portrait of Marie Leszczyńka.. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 27 djela umjetnika Jean-Baptiste Van Loo, datiranih od 1720 do 1744.
Većinom u Buckingham Palace (London), National Portrait Gallery (London) i Ermitaž (Sankt Peterburg). Gornja tablica muzeja navodi sve njih.
U 1740s: 10 od 27 djela na ovoj stranici nastalo je tada, od čega je Frederick, Prince of Wales (1707-51) Frederick, Prince of Wales (1707-51).
Na ovoj stranici najstarije djelo je iz Saint Peter Delivered from Prison (1720), a najnovije iz Love Leaving Psyche (1744).
Man (15), Gold embroidery (7) i Wig (7), kroz svih 27 djela na ovoj stranici.
Oil On Canvas, za 18 od 27 djela na ovoj stranici.
Rococo, sudeći po originalima na ovoj stranici.
Frederick, Prince of Wales (1707-51) i Augusta, Princess of Wales (1719-72): Buckingham Palace, London posjeduje 2 djela s ove stranice.
Ključni trenutak u njegovom životu nastao je pod pokroviteljstvom princa Emanuela Filiberta od Carignana, koji je prepoznao ugođajni talent koji je Jean-Baptiste Van Loo pokazivao i sponzorio njegovo putovanje u Rim. To je boravište se pokazalo kao transformativno iskustvo. Pod mentorstvom Benedetta Lutija, Van Loo se potpuno urubio u živopisno umjetničko okruženje talijanske prijestolnice, usavršavajući svoje vještine dok je istovremeno značajno doprinosio religijskom pejzažu grada. Njegov "Kristovo bičovanje" za crkvu Santa Maria in Monticelli osvojio je veliko priznanje, demonstrirajući majstorstvo u dramatičnoj kompoziciji i emocionalnoj intenzitetu. Taj rani uspjeh utvrdio ga je kao slikara sposobnog za tehničku briljantnost, ali i za duboku duhovnu ekspresiju. Nakon Rima, umjetnički put Jean-Baptiste Van Loo vodio ga je u Torino, gdje je slika portrete Charlesa Emanuela II, voltera Savoyskog, te članova njegovog dvora, čime je dodatno učvrstio svoj ugled među europskom plemićkom aristokracijom. Kulminacija tog razdoblja bila je njegova izbor u prestižnu Académie Royale de Peinture et de Sculpture u Parizu, što je označilo značajnu prekretnicu u njegovoj karijeri i otvorilo vrata za narudžbe iz najviših slojeva francuskog društva. Također se prisitio i restauratorskih radova u Fontainebleauu, pokazujući svestranost koja nadilazi okvire portretarstva.
Pravo je majstorstvo Jean-Baptiste Van Loo ležalo u umjetnosti portretiranja. Posjedovao je nevjerojatnu sposobnost da ne ovlači samo fizičku sličnost, već i samu esenciju svojih modela – njihov status, osobnost, pa čak i najsuptilnije nijanse karaktera. Njegovi su portreti bili traženi među aristokracijom širom Europe, uključujući mladog Williama Murrayja (kasnije 1. lorda Mansfielda) tijekom njegovog boravka u Parizu, te kasnije sir Roberta Walpolea u Engleskoj. Portret Walpolea, koji se danas nalazi u National Portrait Gallery u Londonu, savršeno primjer je Van Looovog stila: dostojanstveno prikazivanje koje naglašava moć i autoritet kroz pedantne detalje u odjeći i pozi. Iako je slavio zbog svoje tehničke vještine, vrijedi napomenuti da su Van Looovi portreti često opisivani kao neugodni, jer je prednost davao vjernom prikazu ispred idealizacije. Ta predanost realizmu, iako možda nije uvijek bila cijenjena od strane njegovih subjekata, pridonijela je povijesnoj vrijednosti njegovog rada, pružajući neprocjenjiv uvid u izgled i ponašanje istaknutih figura 18. stoljeća. Njegova sposobnost da kroz umjetničke izbore prenese društveni status učinila ga je omiljenim umjetnikom među onima koji su željeli projektirati sliku moći i rafiniranosti.
