11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 3点の Cornelis Visscherの作品がカタログにあります
要約すると
Cornelis Visscherが遺したオリジナル作品の中で最も有名なものは、ウィーンの美術史美術館に収蔵されているPortrait of a Musician (1574)です。 それに次いで、Portrait of an Elderly Widow Aged Forty with a Child (1576)とWilliam I (1533-1584), Prince of Orangeが続きます。 Cornelis Visscherによる3点の作品をカタログに掲載しています。当ギャラリーでは、世界が称賛する3点を選定し、制作年、所蔵美術館、そしてその背景にある物語とともにご紹介しています。
A man sits in the quiet gravity of 1574. He is a figure of shadow and bone, his presence defined by the stark contrast between a dark cap and the luminous, weathered landscape of his face. His beard, a voluminous cascade of white, flows like frozen water against the deep blacks of his heavy garment. He holds a piece of parchment, a fragment of music that anchors him to the…
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Cornelis Visscherの作品 | このリストの絵画 |
|---|---|---|---|
 美術史美術館 |
ウィーン | 1 | Portrait of a Musician |
1574年から1576年までのわずか3年間にわたる、厳選されたCornelis Visscherの歴代作品：各年代の最高傑作がここに揃っています。
年代を選択して、当時のオリジナル作品を見る
A man sits in the quiet gravity of 1574. He is a figure of shadow and bone, his presence defined by the stark contrast between a dark cap and the luminous, weathered landscape of his face. His beard, a voluminous cascade of white, flows like frozen water against the deep blacks of his heavy garment. He holds a piece of parchment, a fragment of music that anchors him to the…
Portrait of a Musician (1574)（美術史美術館, ウィーン）。次いでPortrait of an Elderly Widow Aged Forty with a Child (1576)、William I (1533-1584), Prince of Orangeが続きます。
54歳：Portrait of a Musicianは1574年の作品で、Cornelis Visscherの生年は1520年です。
当カタログには、1574年から1576年にかけて制作されたCornelis Visscherによる3点の作品が収められています。
主に美術史美術館 (ウィーン)に所蔵されています。上記の美術館一覧にすべて記載されています。
このページでは、最も古い作品はPortrait of a Musician (1574)、最新の作品はPortrait of an Elderly Widow Aged Forty with a Child (1576)です。
Born in the Dutch city of Gouda around 1520, Cornelis Visscher lived through a period of profound transition in the Low Countries. His identity as a painter is often tied to both Dutch and Flemish traditions, reflecting the fluid borders and shared cultural currents of the sixteenth century. While much of his personal history remains obscured by the passage of centuries, the traces of his hand remain visible in the surviving records of his era.
He moved through a world where the craft of painting was as much about technical precision as it was about capturing the social realities of the time. His life, spanning until 1586, concluded during a period of significant upheaval in the region. He is sometimes identified by various names, including Cornelis de Visscher or Cornelis Visscher the Elder, though these distinctions often blur when looking back at his primary output.
Visscher’s work is characterized by a quiet, observant approach to his subjects. He did not seek to embellish reality but rather to document it with an oil-on-panel technique that favored clarity and presence. His ability to render the human form and the weight of fabric allowed him to capture specific moments of domestic or social significance.
One notable example of his skill is found in the Louvre Museum in Paris, where a work titled Portrait of a forty-year-old widow and a child resides. Created around 1576, this piece offers a glimpse into the artist's capacity for intimacy. The painting presents a woman and her child with a directness that avoids unnecessary drama, focusing instead on the physical reality of the sitters.
In his compositions, certain details emerge from the shadows of history:
The significance of Visscher lies in his contribution to the portraiture tradition of the sixteenth century. He worked during an age when the rise of a middle class created a new demand for personal likenesses, moving away from purely religious or aristocratic subjects. His work provides a window into the lives of individuals who might otherwise have been forgotten by history.
Though he is occasionally confused with later engravers of the same name, the painter Cornelis Visscher remains a distinct figure of the mid-to-late 1500s. His legacy is found in the quiet dignity of his portraits and the enduring presence of his works in major European collections.
