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 · 5点の Godfried Maesの作品がカタログにあります
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Godfried Maesが遺したオリジナル作品の中で最も有名なものは、サンクトペテルブルクのエルミタージュ美術館に収蔵されているHoly Family (1682)です。 それに次いで、The Martyrdom of Saint George (1681)とSaint Martin raising a man from the dead (1687)が続きます。 Godfried Maesによる5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4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。
In this intimate oil on canvas, we find ourselves drawn into a private, tender moment shared by the Holy Family. The composition relies on a subtle diagonal movement, guiding the eye from the seated Virgin Mary on the left toward the Christ Child and Saint Joseph on the right. There is a profound sense of stillness here, despite the dynamic arrangement of the figures. The light is handled with a…
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 | Godfried Maesの作品 | このリストの絵画 |
|---|---|---|---|
 エルミタージュ美術館 |
サンクトペテルブルク | 1 | Holy Family |
 アントウェルペン王立美術館 |
アントウェルペン | 1 | The Martyrdom of Saint George |
 Museum of Fine Arts Ghent (MSK) |
ゲント | 1 | Saint Nicholas of Myra |
わずか10年余りの1681年から1689年にかけて、Godfried Maesによるこのセレクションに含まれるすべての年代のオリジナル作品が世界に発表されました。その軌跡を年ごとにご紹介します。
年代を選択して、当時のオリジナル作品を見る
In this intimate oil on canvas, we find ourselves drawn into a private, tender moment shared by the Holy Family. The composition relies on a subtle diagonal movement, guiding the eye from the seated Virgin Mary on the left toward the Christ Child and Saint Joseph on the right. There is a profound sense of stillness here, despite the dynamic arrangement of the figures. The light is handled with a…
Holy Family (1682)（エルミタージュ美術館, サンクトペテルブルク）。次いでThe Martyrdom of Saint George (1681)、Saint Martin raising a man from the dead (1687)が続きます。
33歳：Holy Familyは1682年の作品で、Godfried Maesの生年は1649年です。
当カタログには、1681年から1689年にかけて制作されたGodfried Maesによる5点の作品が収められています。
主にエルミタージュ美術館 (サンクトペテルブルク), アントウェルペン王立美術館 (アントウェルペン) と Museum of Fine Arts Ghent (MSK) (ゲント)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The Martyrdom of Saint George (1681)、最新の作品はSaint Nicholas of Myra (1689)です。
In the vibrant, artistic heart of seventeenth-century Antwerp, a period defined by the dramatic interplay of light and shadow, Godfried Maes emerged as a master of the grand narrative. Born in 1649 to a lineage of artists, Maes was steeped in the traditions of the Southern Netherlands from his very first breaths. As the son of the painter Godfried Maes, his apprenticeship began within the intimate confines of his father's studio, where the fundamentals of form and color were etched into his developing mind. This early immersion provided him with a profound technical foundation, which he later refined under the tutelage of the esteemed history painter Pieter van Lint. By 1672, Maes had achieved the prestigious status of master within the Antwerp Guild of Saint Luke, marking the beginning of a career that would see him rise to become the Dean of the Guild in 1682.
Maes’s artistic journey was one of immense scale and profound devotion. He did not merely paint; he constructed worlds of spiritual and mythological significance. His repertoire was vast, ranging from the solemnity of religious altarpieces to the complex, swirling allegories that adorned the ceilings of Europe's most opulent palaces. Whether he was capturing the martyrdom of a saint or the ethereal beauty of a classical myth, his work possessed a certain classicist gravity that positioned him as one of the final, magnificent voices of the Flemish Baroque tradition. His ability to command large-scale compositions allowed him to serve a prestigious clientele, including the high nobility and the influential clergy of Antwerp, Brussels, and Liège.
Beyond the canvas, Maes was a visionary designer whose influence extended into the very fabric of aristocratic life. He was a prolific draughtsman, a skill that made him an indispensable collaborator for the great tapestry workshops of his era. His intricate designs, or cartoons, were often realized by the workshop of Urbanus Leyniers in Brussels, translating his fluid pen strokes into monumental woven masterpieces. This versatility—moving between the delicate precision of black chalk and ink drawings and the sweeping grandeur of ceiling decorations—demonstrates an artist of rare breadth. His work for Eugen Alexander Franz, 1st Prince of Thurn and Taxis, featured allegorical scenes that glorified a powerful dynasty, proving that Maes was as much a political storyteller as he was a religious painter.
The twilight of his career was marked by some of his most ambitious decorative undertakings. Between 1697 and 1700, Maes was entrusted with the decoration of the ceiling at the Palace of Coudenberg in Brussels for Maximilian II Emanuel, Elector of Bavaria. In this monumental project, he wove together themes of Peace and Freedom, accompanied by the muses Calliope and Clio, creating a celestial vision that celebrated the stability of the state. Though his life was cut short in 1700, leaving him to be interred in the St. James Church in Antwerp, the echoes of his artistry remained. Through his teaching of subsequent masters and his enduring contributions to the decorative arts, Godfried Maes ensured that the splendor of the Flemish tradition would continue to inspire long after the final brushstroke had dried.
