Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 42 djela Jørgen Roed u našem katalogu
Ukratko
Kunstnerens mormoder (1828) je slika autora Jørgen Roed koja privlači najviše pogleda; original se nalazi u muzeju Statens Museum For Kunst, Kopenhagen. Nakon toga, pogled se usmjerava na Portrait of Colonel von Darcheus (1834) i Charlotte Bartholin (1836). Među 42 djela umjetnika Jørgen Roed u našem katalogu, ovih 42 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
In this 1828 portrait, we are invited into a private, somber space occupied by an elderly woman. The composition is an intimate bust-length study, presented within an oval format that focuses our attention entirely on her character. There is a profound stillness here. The subject gazes out with a calm, steady expression, her eyes carrying a hint of melancholy that suggests a lifetime of endurance. She is framed against a…
In this 1834 oil portrait, we are invited to meet Colonel von Darcheus through a gaze that is both steady and deeply experienced. The subject is presented in a bust-length composition, his body turned slightly to the right while his eyes remain fixed upon us. There is a quiet gravity in his expression, a sense of stoicism that seems to emanate from the fine lines etched into his skin. The…
In this 1836 portrait, we find ourselves in the presence of Charlotte Bartholin, captured in a moment of profound stillness. The composition is a centered, bust-length study that focuses our attention entirely on her character. She is positioned slightly off-center, her gaze directed toward the right of the frame with an expression that suggests a calm, internal composure. The lighting, descending softly from the upper left, carves her features out…
The room feels quiet, held in a stillness that only a formal portrait can command. An elderly gentleman, I.C. Drewsen, sits with a quiet dignity, his gaze directed slightly away from the viewer toward an unseen horizon. He is a man of substance, his presence anchored by the heavy, dark velvet of his frock coat and the crisp, stark white of his high collar. The light enters from the upper…
The painting titled The Marine Painter Emil Wilhelm Normann in his Uniform as a Naval Officer is a portrait executed by the artist Jørgen Roed. This work depicts the subject, Emil Wilhelm Normann, in his capacity as a naval officer. The piece was created in 1830.
A young woman turns her gaze away, her profile etched against a world of shifting shadows. The light catches the delicate curve of her forehead and the bridge of her nose, leaving the rest of her features to melt into a soft, monochromatic depth. There is a stillness here, a moment caught in the breath between a thought and a word. Her hair, a complex architecture of dark, coiled curls,…
In this 1881 oil on canvas, we find ourselves in the presence of Caroline Amalie Meldahl, née Ræder. The portrait, painted by Jørgen Roed, captures a woman of significant social standing, a chamberlainess whose very posture commands the space around her. She is positioned centrally, her hands clasped in a gesture of composed restraint. The lighting, soft and directional from the upper left, carves her features out of the shadows,…
A somber, three-quarter length portrait from 1849 captures Ellen Roed, the artist's mother, in a moment of quiet contemplation. Seated slightly off-center, she faces the viewer directly, her expression marked by a calm, steady presence. The composition relies on a grayscale palette, utilizing a range of tones from the deep blacks of her shawl to the bright whites of her lace cap. Lighting enters from the upper left, casting gentle…
A young girl sits in the quiet center of the frame, her gaze meeting the viewer with a steady, calm innocence. She holds a woven basket, a vessel filled with the heavy, waxy textures of fruit. Light spills from the upper left, catching the curve of her cheek and the smooth skin of the produce, while the rest of the room retreats into a soft, dark shadow. The colors are…
Interior. Ribe Cathedral1836 · Hirschsprung Collection
12
An Artist Resting by the Roadside1832 · Statens Museum For Kunst
13
Miss Ida Wilhelmine Trock1835 · Nationalmuseum
14
Portrait of Ane Elisabeth (Elise) Gurlitt, né Saxild (1817-39)1836 · Nationalmuseum
15
Portrait of Ludvig Holberg. Copy after Johan Roselius1847 · National Museum of Art, Architecture and Design
16
The Courtyard of the Palazzo del Bargello. Florence1842 · Statens Museum For Kunst
17
Familieliv i et lille fiskerleje nord for Helsingør1855 · Statens Museum For Kunst
18
Sjællandske høstpiger ved en brønd1850 · Statens Museum For Kunst
19
Haven med den gamle døbefont1850 · Statens Museum For Kunst
20
Andreas Munch1853 · Oslo Museum
21
The Actor Kristian Mantzius1854 · Nationalmuseum
22
The Artist's Son Holger at the Age of Ten1856 · Statens Museum For Kunst
23
Emilie Mathilde Roed, f. Kruse, kunstnerens hustru1871 · Statens Museum For Kunst
24
The Choir of St. Bendt's Church, Ringsted1829 · Sorø Art Museum
25
Olive Grove from Tivoli near Rome1839 · Nivaagaards Malerisamling
26
Klosteret San Lorenzo fuori le mura i Roma1837 · National Museum of Art, Architecture and Design
27
Ribe Cathedral1836 · Statens Museum For Kunst
28
The Temple of Hercules at Cori1838 · Statens Museum For Kunst
29
The Temple of Hera at Paestum, Italy1838 · Statens Museum For Kunst
30
A View of Casamicciola, Ischia1838 · Statens Museum For Kunst
31
The Market Place in Priverno1838 · Statens Museum For Kunst
32
The Interior of Ribe Cathedral1836 · Statens Museum For Kunst
33
Udsigt mod Roskilde fra et husmandssted1835 · Statens Museum For Kunst
34
Street in Roskilde. In the Background the Cathedral1836 · Statens Museum For Kunst
35
From Collin's Garden in Copenhagen1833 · Nationalmuseum
36
The Coast at Hellebæk. Study1850 · Nationalmuseum
37
La Scala Santa at the Monastery San Benedetto near Subiaco1857 · Nivaagaards Malerisamling
38
Scene from the Garden of the Villa Borghese in Rome1839 · Nivaagaards Malerisamling
39
Selecting Trees for FellingNivaagaards Malerisamling
40
A Bearded Man. StudyNationalmuseum
41
Italian CloisterNivaagaards Malerisamling
42
Drawn Study for Scene from the Garden of the Villa Borghese in Rome
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
7 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Jørgen Roed | Slike iz ovog popisa |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 24 | Kunstnerens mormoder, Charlotte Bartholin, Industrimanden og politikeren I.C. Drewsen |
 Nationalmuseum |
Stockholm | 7 | Portrait of Colonel von Darcheus, Miss Ida Wilhelmine Trock, Portrait of Ane Elisabeth (Elise) Gurlitt, né Saxild (1817-39) |
 Nivaagaards Malerisamling |
Nibe | 5 | Olive Grove from Tivoli near Rome, La Scala Santa at the Monastery San Benedetto near Subiaco, Scene from the Garden of the Villa Borghese in Rome |
 National Museum of Art, Architecture and Design |
Oslo | 2 | Portrait of Ludvig Holberg. Copy after Johan Roselius, Klosteret San Lorenzo fuori le mura i Roma |
 Hirschsprung Collection |
Kopenhagen | 1 | Interior. Ribe Cathedral |
 Oslo Museum |
Oslo | 1 | Andreas Munch |
 Sorø Art Museum |
Sorø | 1 | The Choir of St. Bendt's Church, Ringsted |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In this 1828 portrait, we are invited into a private, somber space occupied by an elderly woman. The composition is an intimate bust-length study, presented within an oval format that focuses our attention entirely on her character. There is a profound stillness here. The subject gazes out with a calm, steady expression, her eyes carrying a hint of melancholy that suggests a lifetime of endurance. She is framed against a…
In this 1834 oil portrait, we are invited to meet Colonel von Darcheus through a gaze that is both steady and deeply experienced. The subject is presented in a bust-length composition, his body turned slightly to the right while his eyes remain fixed upon us. There is a quiet gravity in his expression, a sense of stoicism that seems to emanate from the fine lines etched into his skin. The…
The room feels quiet, held in a stillness that only a formal portrait can command. An elderly gentleman, I.C. Drewsen, sits with a quiet dignity, his gaze directed slightly away from the viewer toward an unseen horizon. He is a man of substance, his presence anchored by the heavy, dark velvet of his frock coat and the crisp, stark white of his high collar. The light enters from the upper…
The oil portrait titled Emilie Mathilde Roed, f. Kruse, kunstnerens hustru was painted by Jørgen Roed in 1871. The subject of this work is Emilie Mathilde Kruse, a woman who shared a life with the artist. They were once engaged, and their union was formalized when they married on 22 May 1842. This painting captures her long after those early years of courtship.
In this 1881 oil on canvas, we find ourselves in the presence of Caroline Amalie Meldahl, née Ræder. The portrait, painted by Jørgen Roed, captures a woman of significant social standing, a chamberlainess whose very posture commands the space around her. She is positioned centrally, her hands clasped in a gesture of composed restraint. The lighting, soft and directional from the upper left, carves her features out of the shadows,…
Kunstnerens mormoder (1828), Statens Museum For Kunst, Kopenhagen. Nakon njih slijede Portrait of Colonel von Darcheus (1834) i Charlotte Bartholin (1836).
20 godina: Kunstnerens mormoder datira iz 1828, a Jørgen Roed je rođen/a 1808.
Kunstnerens mormoder, Portrait of Colonel von Darcheus, Charlotte Bartholin, Industrimanden og politikeren I.C. Drewsen, The Marine Painter Emil Wilhelm Normann in his Uniform as a Naval Officer, Portræt af en ung pige, Kammerherreinde Caroline Amalie Meldahl, f. Ræder, Ellen Roed, f. Jensen, kunstnerens moder, A Girl with a Basket of Fruits i Amtsprovst i Sorø, senere biskop i Århus, P.H. Mønster. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 42 djela umjetnika Jørgen Roed, datiranih od 1828 do 1881.
Većinom u Statens Museum For Kunst (Kopenhagen), Nationalmuseum (Stockholm) i Nivaagaards Malerisamling (Nibe). Gornja tablica muzeja navodi sve njih.
U 1830s: 20 od 42 djela na ovoj stranici nastalo je tada, od čega je Portrait of Colonel von Darcheus Portrait of Colonel von Darcheus.
Na ovoj stranici najstarije djelo je iz Kunstnerens mormoder (1828), a najnovije iz Kammerherreinde Caroline Amalie Meldahl, f. Ræder (1881).
Woman (6), Portrait (4) i Man (3), kroz svih 42 djela na ovoj stranici.
Oil On Canvas, za 6 od 42 djela na ovoj stranici.
Danish golden age, sudeći po originalima na ovoj stranici.
Kunstnerens mormoder, Charlotte Bartholin i Industrimanden og politikeren I.C. Drewsen: Statens Museum For Kunst, Kopenhagen posjeduje 24 djela s ove stranice.
Jørgen Roed (1808–1888) predstavlja značajnu figuru unutar živopisne tapiserije danske umjetnosti 19. stoljeća, posebno poznat po svojim upečatljivim prikazima svakodnevnog života i izvrsnom portretizmu. Rođen u Ringstedu, u Danskoj, kao sin Pedera Jørgensena Roeda i Ellen Hansdatter, njegovo je rano djetinjstvo bilo prožeto ruralnim tradicijama – njegov je otac bio član lokalnog vijeća te se bavio poljoprivredom i destilacijom. Ovo utemeljeno poznavanje praktičnih stvarnosti danskog društva duboko će utjecati na njegovu umjetničku viziju, oblikujući njegovu sposobnost da nevjerojatnom detaljnošću uhvati nijanse ljudske interakcije i ljepotu prirodnog svijeta.
Roedovo umjetničko putovanje započelo je pod mentorstvom učitelja J.J. Fyhna, što je bio skroman početak koji je pokrenuo doživotnu strast prema crtanju i slikarstvu. Prepoznajući njegov talent, njegovi su roditelji osigurali mu mjesto na Kraljevskoj danskoj akademiji umjetnosti u Kopenhagenu 1822. godine, gdje je primio formalno eğitim od cijenjenih umjetnika poput Hansa Hansena (oca Constantina Hansena) i kasnije, Christoffera Wilhelma Eckersberga – ključnog utjecaja koji je oblikovao Roedov pristup kompoziciji, boji i prikazu ljudske figure. Ovo razdoblje označilo je ne samo njegov umjetnički razvoj, već i stvaranje trajnih prijateljstava s kolegama studentima, uključujući Eckersbergovog sina, što je doprinijelo dinamičnom kreativnom okruženju koje je definiralo „Zlatno doba” danske slike.
Roedova rana karijera obilježena je marljivim proučavanjem utvrđenih tehnika, s početnim fokusom na kopiranje djela majstora poput Rafaela. Međutim, brzo se istaknuo sposobnošću da tim reprodukcijama unese osjećaj života i promatranja. Njegove prve izložbe na proljetnoj izložbi Charlottenborg pokazale su rastuće samopouzdanje i novi stil – spoj realizma i osjetljivosti koji će postati zaštitni znak njegovog rada. Tijekom 1830-ih boravio je u Italiji, uranjajući u pejzaže i umjetničke tradicije te regije, čime je dodatno usavršio svoje vještine i proširio tematski repertor.
Ključna prekretnica u Roedovoj karijeri bila je njegova povezanost s Hansom Hansenom, čija je radionica bila mjesto njegovih čestih posjeta. Ovo mentorstvo pružilo mu je neprocjenjivo iskustvo u portretizmu, žanru koji će na kraju postati jedno od njegovih najslavnijem postignuća. Eckersbergov utjecaj, u kombinaciji s praktičnim lekcijama koje je naučio od Hansena, omogućio je Roedu da razvije prepoznatljiv stil – obilježen preciznim detaljima, atmosferskom perspektivom i sposobnošću da uhvati bit svojih subjekata s istovremenom točnošću i empatijom.
Roedova umjetnička tvorba obuhvaćala je raznolike teme, no posebno je prepoznat po svojim očaravajućim žanrovskim slikama. Ove scene iz svakodnevnog života – prikaz koje prikazuju poljoprivrednike kako njeguju svoja polja, ribare koji se vraćaju s mora ili obitelji okupljene oko ognjišta – nude intimne uvide u ritmove i običaje ruralne Danske. Njegove su kompozicije često prožete osjećajem tihe dostojanstvenosti i suptilne ljepote, odražavajući duboko uvažavanje jednostavnih užitaka seoskog života.
Uz svoje žanrovske slike, Roed se izvrsno pokazao i kao portretist. Njegovi portreti ne bilježe samo fizičku sličnost, već i osobnost i karakter njegovih modela – od uglednih gospodara do skromnih seljana. Posjedovao je nevjerojatnu sposobnost izražavanja emocija kroz suptilne geste i izraze lica, stvarajući slike koje su istovremeno vizualno upečatljive i psihološki duboke. Značajni primjeri uključuju „Valdemar Hjartvar Købke”, portret njegovog brata, koji prikazuje Roedovu tehničku vještinu i talent za vjerne prikaze članova vlastite obitelji.
Roedovo umjetničko naslijeđe čvrsto je utemeljeno u kolekcijama istaknutih muzeja diljem Danske, uključujući Nacionalnu galeriju Danske i Umjetnički muzej Horsens. Njegove slike nude dragocjen prozor u dansko društvo 19. stoljeća, pružajući uvid u njegovu kulturu, tradiciju i vrijednosti. Djela poput „Scene iz Villa Borghese” (1839) primjer su njegove majstorstva u arhitektonskom detalju i romantičnom realizmu, dok „Ulica u Roskildeu s katedralom u pozadini” demonstrira njegovu sposobnost da uhvati atmosfersku ljepotu danskih pejzaža.
Doprinos Jørgen Roeda danskoj umjetnosti je neosporan. Bio je ključna figura Zlatnog doba danske slike, utjelovujući njegove ideale realizma, osjetljivosti i nacionalnog ponosa. Njegova djela i dalje se dive zbog tehničke vještine, emocionalne dubine i trajne privlačnosti, osiguravajući mu mjesto među najslavnijim umjetnicima Danske.
Za više informacija o životu i radu umjetnika Jørgen Roeda, pogledajte sljedeće izvore:
