Portret Jean Berain The Elder

9 najpoznatijih djela umjetnika Jean Berain The Elder, galerijska selekcija

Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 9 djela Jean Berain The Elder u našem katalogu

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Od svih originala koje je Jean Berain The Elder ostavio, najpoznatiji je Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663) u kolekciji muzeja Château de Chantilly, Chantilly. Samo iza njih slijede Dream in Atys (1690) i Costume du Soleil pour l’acte IV de Phaéton (1683). Naš katalog sadrži 9 djela umjetnika Jean Berain The Elder; galerija je čuvala onih 9 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.

1640 – 1711, Saint-Mihiel Baroque Najviše djela: Château de Chantilly

Top 10 djela umjetnika Jean Berain The Elder: izbor galerije

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Costume du Soleil pour l’acte IV de Phaéton (1683) od Jean Berain The Elder

Costume du Soleil pour l’acte IV de Phaéton

1683 · Print · Château de Chantilly, Chantilly

To gaze upon this depiction of Costume du Soleil pour l’acte IV de Phaéton is to step directly onto the gilded stage of an eighteenth-century opera. Painted by Jean Berain the Elder in 1683, this work transcends a mere portrait or costume study; it captures a moment suspended between myth and spectacle. The subject, elegantly arrayed in what appears to be a sunlit guise—suggested by the title itself—holds a delicate…

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Costume de la Paix pour le prologue de Proserpine (1680) od Jean Berain The Elder

Costume de la Paix pour le prologue de Proserpine

1680 · Giclée Print · Château de Chantilly, Chantilly

To gaze upon Jean Berain the Elder's "Costume de la Paix pour le prologue de Proserpine" is to step directly into an era where allegory and exquisite costume design converged with high art. This painting, executed in 1680, is not merely a portrait of a woman; it is a carefully constructed tableau vivant, a visual poem dedicated to the concept of peace itself. The central figure, adorned in what appears…

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Kostim velikog svetiča Apoliona za Bellerofona (1686) od Jean Berain The Elder

Kostim velikog svetiča Apoliona za Bellerofona

1686 · Akril na platnu · Château de Chantilly, Chantilly

Jean Berain The Elder – Costume du grand sacrificateur d’Apollon pour Bellérophon Jean Berain The Elder's "Costume du grand sacrificateur d’Apollon pour Bellérophon," created in 1686, stands as a testament to the grandeur and sophistication of Baroque art. Executed in etching, watercolor, gold and silver highlights on paper, this monumental print captures a dramatic scene from Greek mythology – the heroic tale of Bellérophon and Hippolyte battling Chimera, aided by…

Motivi koji su privukli pažnju Jean Berain The Elder

Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.

Muzeji koji čuvaju originalna djela umjetnika Jean Berain The Elder

2 muzeja u kojima se nalazi najviše djela s ove stranice.

Muzej Grad Djela autora Jean Berain The Elder Slike iz ovog popisa
Château de Chantilly, ChantillyChâteau de Chantilly Chantilly 8 Costume de la Beauté pour la septième et dernière entrée du Ballet des arts, Costume du Soleil pour l’acte IV de Phaéton, Costume de la Paix pour le prologue de Proserpine
Bibliothèque Nationale, ParizBibliothèque Nationale Pariz 1 Dream in Atys

Jean Berain The Elder desetljeće po desetljeće: original koji definira svako od njih

Djela po desetljećima

Odaberite desetljeće kako biste vidjeli original koji ga definira.

Pitanja kolekcionara o slikama umjetnika Jean Berain The Elder

Po kojem je djelu Jean Berain The Elder najpoznatiji/a?Otkrijte odgovor

Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663), Château de Chantilly, Chantilly. Nakon njih slijede Dream in Atys (1690) i Costume du Soleil pour l’acte IV de Phaéton (1683).

Koliko je godina Jean Berain The Elder imao/la kada je nastalo djelo Costume de la Beauté pour la septième et dernière entrée du Ballet des arts?Otkrijte odgovor

23 godina: Costume de la Beauté pour la septième et dernière entrée du Ballet des arts datira iz 1663, a Jean Berain The Elder je rođen/a 1640.

Koliko je slika ostavio/la Jean Berain The Elder?Otkrijte odgovor

Naš katalog sadrži 9 djela umjetnika Jean Berain The Elder, datiranih od 1663 do 1690.

U kojim se muzejima nalaze remek-djela umjetnika Jean Berain The Elder?Otkrijte odgovor

Većinom u Château de Chantilly (Chantilly) i Bibliothèque Nationale (Pariz). Gornja tablica muzeja navodi sve njih.

U kojim je godinama Jean Berain The Elder naslikao svoja najpoznatija djela?Otkrijte odgovor

U 1660s: 3 od 9 djela na ovoj stranici nastalo je tada, od čega je Costume de la Beauté pour la septième et dernière entrée du Ballet des arts Costume de la Beauté pour la septième et dernière entrée du Ballet des arts.

Koja su prva i posljednja poznata originalna djela umjetnika Jean Berain The Elder?Otkrijte odgovor

Na ovoj stranici najstarije djelo je iz Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663), a najnovije iz Dream in Atys (1690).

Koje je motive Jean Berain The Elder najčešće birao?Otkrijte odgovor

Costume design (2), Mythology (2) i 17th century art (2), kroz svih 9 djela na ovoj stranici.

Pripada li Jean Berain The Elder kojem umjetničkom pokretu?Otkrijte odgovor

Baroque, sudeći po originalima na ovoj stranici.

Koji se radovi umjetnika Jean Berain The Elder nalaze u muzeju Château de Chantilly?Otkrijte odgovor

Costume de la Beauté pour la septième et dernière entrée du Ballet des arts, Costume du Soleil pour l’acte IV de Phaéton i Costume de la Paix pour le prologue de Proserpine: Château de Chantilly, Chantilly posjeduje 8 djela s ove stranice.

Jean Berain The Elder: život i djelo

The Architect of Ornament

Jean Bérain the Elder stands as one of the most influential decorative forces of the French Baroque era, a master whose vision extended far beyond the boundaries of a single canvas. Born in Saint-Mihiel, Meuse, in the Spanish Netherlands, he was the son of a master gunsmith, an upbringing that likely introduced him to the intricate precision of engraving from a young age. Establishing himself in Paris by 1663, Bérain became the artistic heartbeat of the Royal office of the Menus-Plaisirs du Roi. In this prestigious capacity, he served as the primary designer for the most magnificent court spectacles of the age, ranging from the joyous festivities of royal fêtes to the solemn grandeur of state funerals.

His work was not merely decorative but foundational to the visual identity of the French court. As a draughtsman, designer, painter, and engraver, he possessed a rare ability to translate complex mythological narratives into exquisite ornamental patterns. His influence was so pervasive that the connoisseur Pierre-Jean Mariette famously remarked that nothing was done, in whatever genre it might have been, unless it followed Bérain's manner or utilized his designs. This profound reach ensured that his aesthetic permeated not only the halls of Versailles but also spread through the Low Countries, Germany, and London.

The Berainesque Legacy

The hallmark of his genius lies in what became known as the Berainesque style. This aesthetic was characterized by a delicate dance of light arabesques and playful grotesques, creating a sense of movement and elegance that bridged the gap between the heavy grandeur of the Baroque and the upcoming lightness of the Rococo. His designs for furnishings and courtly spectacles provided the essential elements for the style Régence, which eventually blossomed into the French Rocaille and the broader European Rococo movement.

Bérain's technical mastery allowed him to navigate various media with seamless grace:

  • Etching and Watercolor: In works such as his depiction of the costume for Bellérophon, he utilized the precision of etching paired with luminous watercolor washes to capture dramatic lighting and emotive expression.
  • Costume Design: He possessed a singular talent for creating tableaux vivants through costume, where clothing became an allegory for peace or solar power, as seen in his studies for the works of Proserpine and Phaéton.
  • Ornamental Engraving: Drawing from his father's lineage, he utilized engraving to disseminate intricate patterns that influenced architectural and interior design across Europe.

Through his close friendship with Nicodemus Tessin the Younger, Bérain’s nuanced interpretation of the Louis XIV style was transmitted even to the royal circles in Sweden, cementing his status as a truly international figure of the decorative arts. His career was not just a personal success but a period of immense cultural transmission, where his hand guided the very fabric of European elegance.