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 · 21点の Isaack Luttichuysの作品がカタログにあります
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Isaack Luttichuysが遺したオリジナル作品の中で最も有名なものは、ストックホルムの国立美術館に収蔵されているPortrait of a Young Woman Standing at a Parapet (1654)です。 それに次いで、Portrait of a Young Man with Gloves (1661)とPortrait of a Young Man Standing in a Landscape (1654)が続きます。 Isaack Luttichuysによる21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19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 young woman stands against the quiet weight of a stone parapet. She is positioned slightly off-center, a vertical silhouette carved from deep blacks and muted greys. Her attire, heavy and structured, absorbs the light, leaving only the crisp white of her collar and cuffs to catch the eye. There is a stillness in her posture, a dignified composure that anchors the composition. Behind her, the world softens into an…
In this 1661 oil portrait, we encounter a young man captured in a moment of quiet poise. He is presented in a three-quarter view, his gaze meeting ours with a calm, steady expression that suggests a certain youthful nobility. The composition is balanced, drawing the eye through the soft, wavy lines of his hair toward the structured elegance of his attire. There is a palpable sense of stillness here, the…
There is a quietude in this 1654 portrait that commands immediate attention. We find ourselves facing a young man who possesses a certain aristocratic poise, standing with a calm confidence against a naturalistic backdrop. He is positioned slightly off-center, a choice that lends a sense of organic movement to the composition. His attire, rendered in deep blacks, creates a sharp, striking contrast against the crisp white of his collar and…
Portrait of Johanna de Lange (1635-1673)1655 · Museum Rotterdam
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Portrait of a man, probably Pieter Adriaensz. de Lange (....-....)1655 · Museum Rotterdam
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Portrait of a woman, probably Elisabeth van Dobbe (....-1667)1655 · Museum Rotterdam
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Portrait of Isaac Sweers I (1622-1673)1654 · Het Scheepvaartmuseum
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Portrait of an unknown young man, possibly a physician1657
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Portrait of Constantia Bloemaert (1626-1694)1664 · Het Scheepvaartmuseum
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Still Life with Bread and Wine Glass1650 · ハンブルク美術館
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Portrait of a Gentleman
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Portrait of a Young Lady, Isaack Luttichuys, 16561656 · 国立美術館
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 8 の美術館
| 美術館 | 都市 | Isaack Luttichuysの作品 | このリストの絵画 |
|---|---|---|---|
 Museum Rotterdam |
Rotterdam | 4 | Portrait of Abraham de Riemer (1628-1683), Portrait of Johanna de Lange (1635-1673), Portrait of a man, probably Pieter Adriaensz. de Lange (....-....) |
 国立美術館 |
ストックホルム | 3 | Portrait of a Young Woman Standing at a Parapet, Portrait of a Young Man with Gloves, Portrait of a Young Man Standing in a Landscape |
 Het Scheepvaartmuseum |
アムステルダム | 2 | Portrait of Isaac Sweers I (1622-1673), Portrait of Constantia Bloemaert (1626-1694) |
 ベルリン絵画館 |
ベルリン | 1 | A shipowner and his wife |
 Polesden Lacey |
1 | Unknown Woman | |
 ワルシャワ国立博物館 |
ワルシャワ | 1 | Portrait of a woman with gloves. |
 ヒューストン美術館 |
ヒューストン | 1 | Martijn Gaertz |
 ハンブルク美術館 |
ハンブルク | 1 | Still Life with Bread and Wine Glass |
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。
A young woman stands against the quiet weight of a stone parapet. She is positioned slightly off-center, a vertical silhouette carved from deep blacks and muted greys. Her attire, heavy and structured, absorbs the light, leaving only the crisp white of her collar and cuffs to catch the eye. There is a stillness in her posture, a dignified composure that anchors the composition. Behind her, the world softens into an…
In this 1661 oil portrait, we encounter a young man captured in a moment of quiet poise. He is presented in a three-quarter view, his gaze meeting ours with a calm, steady expression that suggests a certain youthful nobility. The composition is balanced, drawing the eye through the soft, wavy lines of his hair toward the structured elegance of his attire. There is a palpable sense of stillness here, the…
Portrait of a Young Woman Standing at a Parapet (1654)（国立美術館, ストックホルム）。次いでPortrait of a Young Man with Gloves (1661)、Portrait of a Young Man Standing in a Landscape (1654)が続きます。
38歳：Portrait of a Young Woman Standing at a Parapetは1654年の作品で、Isaack Luttichuysの生年は1616年です。
Portrait of a Young Woman Standing at a Parapet, Portrait of a Young Man with Gloves, Portrait of a Young Man Standing in a Landscape, A shipowner and his wife, Unknown Woman, Portrait of a woman with gloves., Portrait of Jan Hendrik Lestevenon, husband of Esther Bary (1630-1696), ca. 1652, Portrait of Esther Bary (1630-1696), ca. 1652, bride of Jan Hendrik Lestevenon, Martijn Gaertz と Portrait of Abraham de Riemer (1628-1683)。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、1640年から1664年にかけて制作されたIsaack Luttichuysによる21点の作品が収められています。
主にMuseum Rotterdam (Rotterdam), 国立美術館 (ストックホルム) と Het Scheepvaartmuseum (アムステルダム)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。
1650s年：このページにある全19作品のうち、15作品がその時期に制作されました。そのうちPortrait of a Young Woman Standing at a Parapet作品が含まれます。
このページでは、最も古い作品はA shipowner and his wife (1640)、最新の作品はPortrait of Constantia Bloemaert (1626-1694) (1664)です。
このページに掲載されている19点の作品におけるWhite collar (3), Tree (2) と Landscape (2)
このページに掲載されている全19作品のうち、2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。
Portrait of Abraham de Riemer (1628-1683), Portrait of Johanna de Lange (1635-1673) と Portrait of a man, probably Pieter Adriaensz. de Lange (....-....)：Museum Rotterdam, Rotterdamには、このページに掲載されている作品のうち4点が所蔵されています。
Born in London in 1616 to Dutch parents, the artist known as Isaack Littlehouse—or more formally, Isaack Luttichuys—occupied a unique cultural space between England and the Netherlands. His very name serves as a linguistic bridge, being the literal English translation of his family surname. While his early years were spent in England, he eventually migrated to Amsterdam alongside his older brother, Simon, a move that would define his artistic trajectory within the vibrant atmosphere of the Dutch Golden Age.
This transition to the Netherlands placed him at the heart of one of the most prolific eras in art history. In Amsterdam, Isaack established himself as a painter of significant repute, navigating the social and commercial complexities of a city thriving on maritime trade and merchant wealth. His presence in the Dutch Republic allowed him to cultivate a practice that resonated deeply with the local elite, securing his place among the prestigious circles of the Amsterdam merchant class.
Isaack Littlehouse distinguished himself through a remarkable sensitivity to the human spirit. As a portrait painter, he possessed a prodigious skill for capturing the individuality of his sitters, moving beyond mere physical likeness to convey subtle cues of movement and character. His work is characterized by a balanced composition and an exquisite attention to detail, particularly in the rendering of fine textures such as luxurious fabrics, intricate lace, and shimmering jewellery.
What truly set his technique apart from many of his contemporaries was his use of color. While the works of masters like Rembrandt often leaned toward a more somber or dramatic tonal range, Littlehouse employed a fresh and bright palette. This luminous approach, combined with a skillful handling of paint, lent an air of elegance and vitality to his subjects. His ability to breathe life into a canvas through light and clarity made his portraits not only records of status but lively, breathing windows into the seventeenth century.
Beyond his individual achievements, Littlehouse’s career was intertwined with the broader artistic ecosystem of his time. He was part of a family of talent, working alongside his brother Simon, who focused on the intricate world of still-life painting. This familial connection to the arts reinforced the rich tradition of specialized painting prevalent in the Dutch Golden Age. His own technical proficiency and stylistic choices even left an impression on subsequent generations, notably influencing the painter Pieter Nason.
Though his life concluded in Amsterdam in 1673, the historical significance of his work remains anchored in its ability to capture the elegance of a bygone era. Through his portraits, we gain insight into the fashion, the social standing, and the quiet dignity of the people who shaped the Dutch Golden Age. His legacy survives in the meticulous details of his brushwork and the enduring brightness of his vision, ensuring that the spirit of his sitters continues to resonate with modern viewers.
