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 · 58点の Philip van Dijkの作品がカタログにあります
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Philip van Dijkが遺したオリジナル作品の中で最も有名なものは、ハーグのマウリッツハイスに収蔵されているWoman Playing a Lute (1725)です。 それに次いで、Lady attending to her toilet (1730)とPortrait of Aernout van Citters, Lord of Gapinge (1750)が続きます。 Philip van Dijkによる58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56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。
The room falls into a quiet hush as the young woman settles into her performance. She sits slightly off-center, her body angled toward the viewer, yet her spirit seems lost in the resonance of the strings. A soft, directional light spills from the upper left, washing over her porcelain skin and catching the subtle curves of her face. This light creates a gentle depth, casting soft shadows that define the…
In this intimate oil on panel, titled Lady attending to her toilet, the artist Philip van Dijk captures a quiet moment of personal preparation. The work, which dates to about 1725, offers a glimpse into the private rituals of the eighteenth century. It is a small-scale composition, measuring 29.5 x 23.5 cm, which invites a close, contemplative inspection of its details.
A man emerges from a deep, shadowy void, his presence defined by the sharp contrast of light and dark. This is Aernout van Citters, Lord of Gapinge, captured in a moment of quiet, dignified stillness. He sits within an oval vignette, a framing choice that pulls the viewer into an intimate encounter with his likeness. His face, marked by a prominent mustache and a well-groomed goatee, catches a strong, directional…
A three-quarter length portrait presents a middle-aged man positioned slightly off-center against a dark, atmospheric background. He is dressed in the formal attire of the early 18th century, featuring a large, voluminous powdered wig that frames a face illuminated by directional light from the upper left. This lighting creates a chiaroscuro effect, casting one side of his features and his hands into deep shadow while highlighting the texture of his…
This oil on canvas portrait, titled William IV of Orange, depicts the subject William IV, Prince of Orange (1711-51), also known as Willem Karel Henrik, Prince of Orange, and later Statholder Willem IV. The work was executed by the Dutch artist Philip van Dijk. The painting is dated 1736.
Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander is an oil portrait by Philip van Dijk. Executed about 1742, the work captures a domestic group of three individuals. The subjects are identified as Isaac Parker, Justina Johanna Ramskrammer, and their son, Willem Alexander.
The portrait presents a three-quarter view of Pieter Macaré, positioned centrally within an oval-shaped border. The subject is depicted from the chest upward, wearing a voluminous, curly wig that frames the face with fine, swirling lines. A draped garment covers the shoulders, accented by a white cravat or neckcloth at the throat. The lighting originates from the upper left, casting the right side of the face and the folds of…
A single light source carves the woman from a void of deep brown. She sits in a three-quarter view, her presence defined by the soft glow on her neck and the pale curve of her cheek. The darkness behind her offers no distraction, only a quiet space for her features to emerge. Her gaze is steady, held within an oval frame that focuses the eye on the subtle textures of…
A single man occupies the space, caught in a moment of quiet gravity. He sits in a three-quarter pose, his body angled toward the right while his gaze meets the viewer with a steady, unblinking clarity. The light arrives from the upper left, a sharp, directional force that carves his features out of the surrounding gloom. It catches the curve of a brow and the soft texture of skin, while…
The Bookkeeper is an oil painting by Philip van Dijk, created about 1725. This work emerged from the hand of an 18th-century painter from the Dutch Republic. The canvas captures a solitary figure in a moment of quiet, scholarly labor, a scene rendered with the precision of a man who understood the weight of a quill and the texture of parchment.
Portrait of Prince William IV of Orange-Nassau1722
12
Portrait of an Officer in Armour in Front of His Tent1720
13
The banishment of Hagar and Ishmael (Genesis 21:14)1718
14
Portrait of Pieter van Hoorn (1671-1729)1712
15
Portrait of an unknown woman1712 · Museum Rotterdam
16
Portrait of Agnes Catherina Hoeuft (1689-1758)1715 · マウリッツハイス
17
Portrait of Mathias Lambertus Singendonck (1648-1742)1715 · マウリッツハイス
18
Ignatia Geertruida Timmers (1714-1733). Spouse of Paulus Bogaert van Alblasserdam1728
19
Anna Maria Elburg (1725-1762), Barones van Boetzelaer van Langerak1730
20
Self-portrait c. 17281728 · ヴィルヘルムスヘーエ城絵画館
21
Prins Wilhelm av Hessen-Cassel1725 · 国立美術館
22![Sarai [Sarah] brings Hagar to Abram [Abraham] (Genesis 16:3-4) (1725) による Philip van Dijk](/media/artworks/images-thumb/bc/e9/bce9cbaaec9559cf2637fb4cc916cbce.jpg)
Sarai [Sarah] brings Hagar to Abram [Abraham] (Genesis 16:3-4)1725
23
Portrait of a Woman1725
24
Portrait of Cornelis van Schuylenburch (1683-1763) and his wife Martha Catharina Kemp (1694-1729) with their children Willem (1717-1769), Pieter (1718-1786) and Anthonetta (1722-1786)1724
25
Portrait of Cornelis van Bijnkershoek (1673-1743)1733
26
Portrait of Petrus Macaré (1704-1736)1730
27
Susanna and the Elders1724 · Statens Museum For Kunst
28
Portrait of Wilhelm VIII. Landgraf von Hessen-Kassel1736 · ヴィルヘルムスヘーエ城絵画館
29
Unknown Gentlman1737
30
Cornelia Jacoba Kemp (1696-1755), wife of Johannes van Schuylenburch and her son Pieter1736
31
Portrait of Johanna Jacoba van Campen (1712-1770), wife of Pieter van Hoorn (1706-1763)1734
32
Portrait of François Nicolaas Fagel1735 · Limburg Museum
33
Portrait of Pieter van Hoorn (1706-1763), husband of Johanna Jacoba van Campen (1712-1770)1734
34
portrait of Cornelia Boddaert1737
35
portrait of S.Radermacher 17291737
36
Anne, Princess Royal and Princess of Orange-Nassau (1709-59)1735 · ロイヤル・コレクション
37
Portrait of Johan Frederik van Friesheim (1685-1747), Marie Aimée van Friesheim-de Rapin de Thoyras (1716-1800) and their son Johan Frederik (Godfried) van Friesheim (1738-1776) with a Black page1739 · Centraal Museum
38
Anna van Hannover (1709-59). wife of Prince Willem IV1735 · 国立美術館
39
Portrait of a youn William IV1735 · Museum Het Valkhof
40
Samuel Radermacher (1693-1761) and his grandson Samuel Trezel Bevers (d. 1751)1750 · Rijksmuseum Twenthe
41
Anthony Ewout Sichterman, his wife Josina Petronella Alberda and their sons Mello and Albert Galenus Sichterman,1745 · Groninger Museum
42
Sybilla Volkera Sichterman-Sadelijn and her daughters Sybilla Volkera and Christina Elisabeth1745 · Groninger Museum
43
Francina Margaretha Sichterman, her husband Scato Gockinga and their eldest daughter Tateke Helena1745 · Groninger Museum
44
Isaac Parker (1702-55), Merchant of Middelburg, Philip van Dijk, 17341734 · 国立美術館
45
François Fagel III1735 · Haags Historisch Museum/Rijksmuseum De Gevangenpoort
46
Justina Johanna Ramskrammer1734 · 国立美術館
47
Cornelis van Ceters (1503-99), Philip van Dijk, 1700 - 17531753 · 国立美術館
48
Portrait of Caspar Adriaen Parduyn (1685-1735), Bailiff of Middelburg, Philip van Dijk, 1705 - 17531753 · 国立美術館
49
Portrait of Maria van Citters (1684-1752), Wife of Caspar Adriaen Parduyn, Philip van Dijk, 1725 - 17531753 · 国立美術館
50
Adriaen Caspar Parduyn (1718-47), Councilor and Alderman of Middelburg, Son of Caspar Adriaen Parduyn and Maria van Citters, Philip van Dijk, 1735 - 17531753 · 国立美術館
51
Jan Albert Sichterman with his son Jan Albert1745 · Groninger Museum
52
Judith with the head of Holofernes1726 · Mauritshuis王宮美術館
53
Venus and Bacchus
54
The Iddekinge family国立美術館
55
An elegant couple making music on a balcony
56
Man Playing a Violin and a Woman at a WindowRoyal Łazienki Museum
#40 Samuel Radermacher (1693-1761) and his grandson Samuel Trezel Bevers (d. 1751)
#47 Cornelis van Ceters (1503-99), Philip van Dijk, 1700 - 1753
#48 Portrait of Caspar Adriaen Parduyn (1685-1735), Bailiff of Middelburg, Philip van Dijk, 1705 - 1753
#49 Portrait of Maria van Citters (1684-1752), Wife of Caspar Adriaen Parduyn, Philip van Dijk, 1725 - 1753
#50 Adriaen Caspar Parduyn (1718-47), Councilor and Alderman of Middelburg, Son of Caspar Adriaen Parduyn and Maria van Citters, Philip van Dijk, 1735 - 1753
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。
#3 Portrait of Aernout van Citters, Lord of Gapinge
#4 Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg
#5 William IV of Orange
#6 Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander
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 | Philip van Dijkの作品 | このリストの絵画 |
|---|---|---|---|
 国立美術館 |
アムステルダム | 10 | Portrait of Aernout van Citters, Lord of Gapinge, Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg, Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander |
 マウリッツハイス |
ハーグ | 4 | Woman Playing a Lute, The Bookkeeper, Portrait of Agnes Catherina Hoeuft (1689-1758) |
 Groninger Museum |
フローニンゲン | 4 | Anthony Ewout Sichterman, his wife Josina Petronella Alberda and their sons Mello and Albert Galenus Sichterman,, Sybilla Volkera Sichterman-Sadelijn and her daughters Sybilla Volkera and Christina Elisabeth, Francina Margaretha Sichterman, her husband Scato Gockinga and their eldest daughter Tateke Helena |
 Mauritshuis王宮美術館 |
ハーグ | 2 | Lady attending to her toilet, Judith with the head of Holofernes |
 Statens Museum For Kunst |
コペンハーゲン | 2 | William IV of Orange, Susanna and the Elders |
 ヴィルヘルムスヘーエ城絵画館 |
カッセル | 2 | Self-portrait c. 1728, Portrait of Wilhelm VIII. Landgraf von Hessen-Kassel |
 国立美術館 |
ストックホルム | 2 | Prins Wilhelm av Hessen-Cassel, Portrait of Caspar Adriaen Parduyn (1685-1735), Bailiff of Middelburg, Philip van Dijk, 1705 - 1753 |
 Museum Rotterdam |
Rotterdam | 1 | Portrait of an unknown woman |
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。
The portrait presents a three-quarter view of Pieter Macaré, positioned centrally within an oval-shaped border. The subject is depicted from the chest upward, wearing a voluminous, curly wig that frames the face with fine, swirling lines. A draped garment covers the shoulders, accented by a white cravat or neckcloth at the throat. The lighting originates from the upper left, casting the right side of the face and the folds of…
The oil on canvas depicts a scene of departure set against a landscape of rocky terrain and a muted, atmospheric sky. In the foreground, three figures occupy a diagonal arrangement that directs the viewer's gaze from the immediate emotional center toward the distant horizon. An elderly man, positioned on the left, extends a hand in a commanding gesture. He is dressed in heavy, fur-lined robes of red and brown, and…
The room falls into a quiet hush as the young woman settles into her performance. She sits slightly off-center, her body angled toward the viewer, yet her spirit seems lost in the resonance of the strings. A soft, directional light spills from the upper left, washing over her porcelain skin and catching the subtle curves of her face. This light creates a gentle depth, casting soft shadows that define the…
In this intimate oil on panel, titled Lady attending to her toilet, the artist Philip van Dijk captures a quiet moment of personal preparation. The work, which dates to about 1725, offers a glimpse into the private rituals of the eighteenth century. It is a small-scale composition, measuring 29.5 x 23.5 cm, which invites a close, contemplative inspection of its details.
Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander is an oil portrait by Philip van Dijk. Executed about 1742, the work captures a domestic group of three individuals. The subjects are identified as Isaac Parker, Justina Johanna Ramskrammer, and their son, Willem Alexander.
A man emerges from a deep, shadowy void, his presence defined by the sharp contrast of light and dark. This is Aernout van Citters, Lord of Gapinge, captured in a moment of quiet, dignified stillness. He sits within an oval vignette, a framing choice that pulls the viewer into an intimate encounter with his likeness. His face, marked by a prominent mustache and a well-groomed goatee, catches a strong, directional…
Woman Playing a Lute (1725)（マウリッツハイス, ハーグ）。次いでLady attending to her toilet (1730)、Portrait of Aernout van Citters, Lord of Gapinge (1750)が続きます。
42歳：Woman Playing a Luteは1725年の作品で、Philip van Dijkの生年は1683年です。
Woman Playing a Lute, Lady attending to her toilet, Portrait of Aernout van Citters, Lord of Gapinge, Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg, William IV of Orange, Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander, Portrait of Pieter Macaré (1674-1714), Portrait of Johanna Maria van Dusseldorp (1677-1740), Portrait of a man と The Bookkeeper。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、1700年から1753年にかけて制作されたPhilip van Dijkによる58点の作品が収められています。
主に国立美術館 (アムステルダム), マウリッツハイス (ハーグ) と Groninger Museum (フローニンゲン)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。
1730s年：このページにある全56作品のうち、20作品がその時期に制作されました。そのうちLady attending to her toilet作品が含まれます。
このページでは、最も古い作品はPortrait of a man (1700)、最新の作品はCornelis van Ceters (1503-99), Philip van Dijk, 1700 - 1753 (1753)です。
このページに掲載されている56点の作品におけるMan (34), Woman (24) と Wig (15)
このページに掲載されている全56作品のうち、25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 Aernout van Citters, Lord of Gapinge, Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg と Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander：国立美術館, アムステルダムには、このページに掲載されている作品のうち10点が所蔵されています。
In the grand tapestry of the Dutch Baroque, few threads are woven with as much elegance and courtly grace as those left by Philip van Dijk. Born in the vibrant artistic hub of Haarlem on January 10, 1683, Van Dijk emerged during an era when the Dutch Republic was transitioning from the rugged realism of the Golden Age into a more refined, sophisticated aesthetic. His journey was one of constant movement and prestigious associations, shaped by the shadows of masters and the bright lights of royal courts. From his early training under Arnold Boonen in Amsterdam to the transformative influence of Adriaen van der Werff in Rotterdam, Van Dijk developed a stylistic language that balanced meticulous precision with an evocative, psychological depth.
The artist’s development was deeply rooted in the rigorous traditions of the Dutch guilds. After marrying in 1708, he joined the prestigious Guild of St. Luke in Middelburg, a move that signaled his arrival as a professional of significant standing. His talent soon earned him membership in the Confrerie Pictura, where his reputation flourished among the artistic elite. This period of his life was marked by an increasing ability to capture not just the physical likeness of his subjects, and even their social status, but the very essence of their character through a delicate interplay of light and texture.
The true zenith of Van Dijk’s career was reached when his brush moved beyond the merchant classes of the Netherlands to serve the highest echelons of European nobility. In 1726, a decade-long departure from The Hague saw him travel to Kassel, where he assumed the prestigious role of court painter for William VIII, Landgrave of Hesse-Cassel. It was in this setting of aristocratic splendor that his mastery of portraiture truly blossomed. He captured the dignity of Landgravine Marie Louise of Hesse-Kassel and her family with a grandeur that solidified his place in the annals of Baroque history.
His influence and reach were not confined to Germany alone; by 1750, he had returned to The Hague to serve as court painter to William IV, Prince of Orange. This appointment to the House of Orange-Nassau cemented his legacy as a chronicler of royal lineage. His work remains a vital window into the social fabric of the 18th century, characterized by:
Beyond the halls of power, Van Dijk’s impact resonated through the generations of artists he mentored at the drawing academy, including Jan Augustini and Hendrik Pothoven. Perhaps most charmingly, his artistic reach extended into the everyday lives of the Dutch people; his depiction of a Lute Player was so iconic that it served as the inspiration for the design of the Dutch 100 guilder banknote centuries later. When he passed away on February 2, 1753, he left behind a body of work that continues to resonate with the timeless beauty of the Baroque spirit.
