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 · 17点の Daniel Seiterの作品がカタログにあります
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Martyrdom of Saint Erasmus (1676)はDaniel Seiterの作品の中で最も注目を集めている絵画です。原画はミュンヘンのバイエルン州立絵画コレクションに所蔵されています。 その後、視線はThe Good Samaritan (1676)とVenus with Ceres and Bacchus (1676)へと移ります。 当カタログに含まれるDaniel Seiterの17点の作品のうち、これら17点は最も有名な作品です。制作年、所蔵美術館、そして時代を超えて愛される理由とともに、一点もののオリジナル作品をご紹介します。
Created about 1676, this oil painting by Daniel Seiter captures a moment of intense physical suffering. The work focuses on the martyrdom of Saint Erasmus, centering on the specific torture of the saint. The composition emphasizes the mechanical cruelty of the act, depicting the winding of intestines around a windlass.
The Good Samaritan is a significant work by the painter Daniel Seiter. Created about 1676, this piece reflects the hand of an artist who was born in Vienna, Austria. Seiter’s presence in the art world was marked by a career that spanned much of the late seventeenth century, until his death in 1705.
In Daniel Seiter's Venus with Ceres and Bacchus, a crowded, pyramidal arrangement of three mythological figures emerges from a dark, atmospheric background. Venus reclines upon a soft, cloud-like surface, her nude form angled toward the viewer while her head turns upward and to the right. To her side, the male figure Bacchus appears in profile, leaning forward with muscular definition as he holds a vessel. Between these two, Ceres looks…
In this dramatic Baroque-style oil painting, Daniel Seiter captures the profound tragedy of the "Suicide of Lucretia." Created about 1676, the work focuses on the intense emotional weight of the subject's final moments. The scene is rendered with a sense of intimacy that draws the viewer into the immediate, private nature of her despair. It is a quiet yet heavy moment of transition, captured through the lens of late 17th-century…
The oil on canvas titled Diana next to the Corpse of Orion was painted by Daniel Seiter about 1685. This work captures a heavy, silent moment of myth. It depicts the goddess Diana as she discovers the fallen body of Orion. The scene freezes the hunter in the stillness of death, just before his form is cast into the stars of the heavens.
This two-dimensional work of art, titled Armida and Rinaldo, was executed by the Viennese-born Baroque painter Daniel Seiter. Created about 1700, the painting captures a moment of intense human connection between the two central figures. Seiter, who moved from his origins near the Swiss-Austrian border to the artistic hubs of Venice and Rome, brings a specific sense of drama to this scene.
Ceiling of the Galleria del Daniel (centre section detail)1690
12
Noli me tangereバイエルン州立絵画コレクション
13
The incredulity of Thomasバイエルン州立絵画コレクション
14
Apollo and Daphne1699
15Lot and His DaughtersAccademia di San Luca
16
The Judgment of Paris1699
17
The Dead Christ, with the Madonna and Saint John the Evangelist
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
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 3 の美術館
| 美術館 | 都市 | Daniel Seiterの作品 | このリストの絵画 |
|---|---|---|---|
 バイエルン州立絵画コレクション |
ミュンヘン | 6 | Martyrdom of Saint Erasmus, The Good Samaritan, Venus with Ceres and Bacchus |
 国立美術館・建築・デザイン美術館 |
オスロ | 1 | Armida and Rinaldo |
 Accademia di San Luca |
ローマ | 1 | Lot and His Daughters |
その時代を象徴する名作を見るために、年代を選択してください。
Created about 1676, this oil painting by Daniel Seiter captures a moment of intense physical suffering. The work focuses on the martyrdom of Saint Erasmus, centering on the specific torture of the saint. The composition emphasizes the mechanical cruelty of the act, depicting the winding of intestines around a windlass.
The oil on canvas titled Diana next to the Corpse of Orion was painted by Daniel Seiter about 1685. This work captures a heavy, silent moment of myth. It depicts the goddess Diana as she discovers the fallen body of Orion. The scene freezes the hunter in the stillness of death, just before his form is cast into the stars of the heavens.
This two-dimensional work of art, titled Armida and Rinaldo, was executed by the Viennese-born Baroque painter Daniel Seiter. Created about 1700, the painting captures a moment of intense human connection between the two central figures. Seiter, who moved from his origins near the Swiss-Austrian border to the artistic hubs of Venice and Rome, brings a specific sense of drama to this scene.
Martyrdom of Saint Erasmus (1676)（バイエルン州立絵画コレクション, ミュンヘン）。次いでThe Good Samaritan (1676)、Venus with Ceres and Bacchus (1676)が続きます。
27歳：Martyrdom of Saint Erasmusは1676年の作品で、Daniel Seiterの生年は1649年です。
Martyrdom of Saint Erasmus, The Good Samaritan, Venus with Ceres and Bacchus, Suicide of Lucretia, Diana next to the Corpse of Orion, Armida and Rinaldo, View of the Galleria del Daniel, Ceiling of the Galleria del Daniel (centre section), Ceiling of the Galleria del Daniel (south section) と Ceiling decoration。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。
当カタログには、1676年から1700年にかけて制作されたDaniel Seiterによる17点の作品が収められています。
主にバイエルン州立絵画コレクション (ミュンヘン), 国立美術館・建築・デザイン美術館 (オスロ) と Accademia di San Luca (ローマ)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。
1690s年：このページにある全17作品のうち、7作品がその時期に制作されました。そのうちView of the Galleria del Daniel作品が含まれます。
このページでは、最も古い作品はMartyrdom of Saint Erasmus (1676)、最新の作品はArmida and Rinaldo (1700)です。
このページに掲載されている17点の作品におけるMan (6), Woman (5) と Skin (3)
このページに掲載されている全17作品のうち、5作品のOil
このページに掲載されているオリジナル作品から判断すると、Baroqueです。
Martyrdom of Saint Erasmus, The Good Samaritan と Venus with Ceres and Bacchus：バイエルン州立絵画コレクション, ミュンヘンには、このページに掲載されている作品のうち6点が所蔵されています。
Daniel Seiter remains a figure shrouded in artistic mystery, largely due to the scarcity of reliable biographical information that survives from his era. However, what emerges from scholarly accounts—primarily Houbraken’s Lives of Distinguished Artists, published in 1718—paints a portrait of a Viennese painter who decisively embraced the Venetian Baroque tradition and achieved considerable renown throughout Europe. Born around 1642/1647, likely on the border between Switzerland and Austria, Seiter’s early life remains obscure, yet his artistic journey would eventually lead him to the most prestigious studios of Italy.
His formative years were defined by a profound connection to the Venetian school. Records indicate he received his initial artistic training in Venice, where he apprenticed with Johann Carl Loth—a partnership that profoundly shaped his stylistic sensibilities. The influence of Loth is unmistakable in Seiter’s meticulous attention to detail, his masterful use of tenebroso—the dramatic interplay of deep shadows and piercing light—and his dynamic compositions reminiscent of the great Venetian masters. This foundation allowed him to develop a technique so seamless that contemporary critics often found it impossible to distinguish his hand from that of his mentor.
As his talent matured, Seiter’s ambitions drew him toward Rome, where he continued to refine his craft within the studio of Carlo Maratta. It was during this period that he became part of the Bentvueghels, a spirited society of artists dedicated to documenting landscapes and exploring new visual frontiers. Within this group, he adopted the moniker “Marantello” or “Morgenstar,” a name reflecting his penchant for capturing ethereal dawn scenes and the soft, burgeoning light of new beginnings. This association fostered a fascination with exotic cultures and contributed to his artistic exploration of dramatic, sweeping visual narratives.
Seiter’s work during this era exemplifies the grandeur of the Baroque period, blending religious devotion with theatrical spectacle. His most celebrated works include the Martyrdom of St Catherine (1685) and the Martyrdom of St Lawrence, monumental frescoes that adorn the vestibule of Santa Maria del Popolo in Rome. These paintings are not merely depictions of suffering; they are profound theological contemplations rendered through artistic virtuosity, where every muscle tension and every drop of light serves to elevate the spiritual narrative.
The reach of Seiter’s influence extended far beyond the borders of Italy, as his reputation for excellence earned him the patronage of European royalty. He served as a court painter for Victor Amadeus II of Sardinia and undertook significant commissions in Turin, where his breathtaking frescoes transformed the Royal Palace into a testament to Baroque grandeur. His dedication to his craft was so highly regarded that he was eventually knighted by Victor Amadeus II, a rare and prestigious recognition of his artistic excellence.
Beyond his religious iconography, Seiter demonstrated a remarkable ability to breathe life into classical mythology. Works such as The Judgment of Paris (1699) and Apollo and Daphne showcase his mastery of complex figure arrangements and vibrant color palettes. In these canvases, the viewer is transported to an ancient world where gods and mortals interact with intense emotion and fluid movement. Today, Seiter is remembered as a bridge between the rigorous traditions of the North and the luminous, dramatic spirit of the Italian Baroque, leaving behind a legacy of light, shadow, and enduring beauty.
