Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 47 Bartlomas Strobelis darbai mūsų kataloge
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Iš visų paliktų originalų kūrinių Bartlomas Strobelis garsiausias yra Portrait of Jerzy Ossoliński. (1635), esantis Nacionalinis muziejus Varšuvoje kolekcijoje, Varšuva. Tiesiog už jų seka Return of the Prodigal Son (1616) ir Lazarus in the Palace of the Rich Man (1625). Mūsų kataloge yra 47 darbų autoriaus Bartlomas Strobelis; galerija išsaugojo 43 labiausiai pasaulyje žyminiausių kūrinių – kiekvienas jų pateikiamas su datos, muziejaus ir istorijos aprašymu.
This work is the Portrait of Jerzy Ossoliński, a significant oil on canvas created by the artist Bartlomiej Strobel. Painted about 1635, the portrait captures the likeness of the nobleman Jerzy Ossoliński. It is currently held within the collection of the National Museum in Warsaw.
Return of the Prodigal Son is a highly detailed Dutch Golden Age genre painting by Bartlomiej Strobel. Executed in 1616, the work captures a bustling domestic or banquet scene within a palatial setting. The composition features several figures, including children, servants, and a dog, all situated within an opulent interior.
In Lazarus in the Palace of the Rich Man, Bartlomiej Strobel presents a grand, opulent interior that captures a scene of profound wealth and excess. The composition is anchored by classical architectural elements that organize the space with mathematical precision. Massive Corinthian columns and pilasters establish strong vertical lines, guiding the eye through a deep linear perspective. This spatial arrangement draws the viewer toward an arched opening in the distance,…
In Interior with Figures by Bartlomiej Strobel, we find ourselves within a grand, wood-paneled hall that feels both expansive and deeply structured. The artist employs a rigorous linear perspective to organize the space, using the lines of the architecture and the pattern of the floor tiles to draw the eye toward a central fireplace. This receding geometry creates a profound sense of spatial depth, inviting a quiet contemplation of the…
The scene unfolds within the grand, cavernous walls of Imaginary church interior with a procession, a work that places the viewer directly into the heart of a solemn religious ceremony. This painting, created by Bartlomiej Strobel, captures a moment of movement as figures move through a vast nave. The scale of the architecture suggests a space of immense importance, where the light catches the textures of stone and the checkered…
The composition of this 1634 oil on canvas is organized vertically, establishing a clear hierarchy between the divine and the earthly. At the center, the Virgin Mary is positioned in an elevated plane, her figure framed by a luminous glow that emanates from behind her crown. She wears a mantle of deep ultramarine blue, which contrasts with the warm crimson reds and golden yellows present in the surrounding elements. Below…
The King and Queen of Bohemia dining in Public is an oil on canvas work by Bartlomiej Strobel. Created about 1634, the painting originates from the Baroque period. The artist was a Silesian painter of German-Polish descent, a background that informed his position within the artistic landscape of Central Europe.
In this 1634 portrait, we encounter Janusz Radziwiłł, a man whose very posture commands the space around him. He is presented in a three-quarter length view, his gaze directed toward us with a quiet, steady confidence. The lighting is deliberate, a technique of chiaroscuro that pulls his features and the intricate textures of his attire out of a deep, dark background. There is a palpable sense of weight to his…
In the oil painting Interior of a Catholic Church by Bartlomiej Strobel, the artist employs a strong one-point perspective to organize the architectural space. Receding rows of massive classical columns and arches create a rhythmic repetition that draws the eye deep into the nave toward a distant altar. The floor is composed of intricate rectangular patterns of tiles and rugs, which establish a geometric foundation for the scene. These structural…
In Interior of a Church, Bartlomiej Strobel presents a quiet study of Gothic architecture. The composition relies on a rigorous one-point perspective, where the geometric lines of the checkered floor tiles draw the eye steadily toward a distant altar. This mathematical precision creates a profound sense of depth within the nave. The space is defined by the verticality of massive clustered columns and the elegant, sweeping curves of the ribbed…
Party Scene1628 · Statens Museum For Kunst
12
Sumptuous renaissance interior with a banquet1628 · Statens Museum For Kunst
13
Portrait of Władysław Dominik Zasławski-Ostrogski.1630 · National Art Museum of The Republic of Belarus
14
Portrait of Johann Vogt, counsellor of Wrocław (so-called portrait of Robert De Niro).1628 · National Museum in Wrocław
15
Portrait of Władysław IV of Poland.1636 · Nacionalinis muziejus Varšuvoje
16
Portrait of Nikolaus Hübner, counsellor of Thorn.1644 · District Museum in Toruń
17
Daniel and Cyrus before the Idol Bel1630 · Nacionalinis muziejus Varšuvoje
18
Interior with a Company1622 · Rijksmuseum
19
VUE INTERIEURE D'UNE GRANDE SALLELiuvro muziejus
20
Interior of a Baroque Church1602 · Nationalmuseum
21
Interior of a Gothic Cathedral1614
22
The Tomb of William the Silent in an Imaginary Church1620 · Szépművészeti Múzeum
23
Renaissance Interior with Banqueters1618 · North Carolina Museum of Art
24
Interior of a Church with Staffage1629
25
Square in front of a Magnificent Church1623 · Statens Museum For Kunst
26
Church Interior1627 · Gemäldegalerie
27
Interior of an Imaginary Church1627
28
Interior of a Flemish Cathedral with Figures1636 · Nostell Priory
29
An Imaginary Church Interior1645
30
Interior of St Cunerakerk, Rhenen1638
31
The New Church at the Spui as seen from the east (The Hague).1650 · Haags Historisch Museum/Rijksmuseum De Gevangenpoort
32
The Feast of BalthazarMusée de Grenoble
33
Christ in the House of Mary and Martha
34
Procession in a Cathedral
35
A Company in an InteriorRijksmuseum
36
Interior of an Imaginary Church1639
37
Church InteriorStatens Museum For Kunst
38
Intérieur d'église
39
Interior of a Church
40
A Banqueting Hall with FiguresNational Trust
41
Feast of Herod with the Beheading of St John the Baptist1635 · Museo del Prado
42
Portrait of Guglielmo Orsetti1644 · Nacionalinis muziejus Varšuvoje
43
Interior of the Cunerakerk, Rhenen1638 · National Gallery
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Bartlomas Strobelis darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhaga | 5 | Interior of a Church, Party Scene, Sumptuous renaissance interior with a banquet |
 Nacionalinis muziejus Varšuvoje |
Varšuva | 4 | Portrait of Jerzy Ossoliński., Portrait of Władysław IV of Poland., Daniel and Cyrus before the Idol Bel |
 Gemäldegalerie |
Berlynas | 2 | Imaginary church interior with a procession, Church Interior |
 National Art Museum of The Republic of Belarus |
Minsk | 2 | Portrait of Janusz Radziwiłł (1612–1655)., Portrait of Władysław Dominik Zasławski-Ostrogski. |
 Rijksmuseum |
Amsterdamas | 2 | Interior with a Company, A Company in an Interior |
 Detroito meno institutas |
Detroitas | 1 | Return of the Prodigal Son |
 Bavarijos valstybinės paveikslų kolekcijos |
Miunchas | 1 | Lazarus in the Palace of the Rich Man |
 Dordrechts Museum |
Dordrecht | 1 | Interior with Figures |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
In the painting Interior of a Baroque Church by Bartlomiej Strobel, the composition is organized around a sense of immense scale and structural complexity. Strong vertical lines, provided by massive fluted columns and soaring arches, guide the eye through the vast ecclesiastical space. These architectural elements create a rhythmic progression that emphasizes the depth of the nave. The structural forms are defined by a palette dominated by warm, earthy tones,…
Return of the Prodigal Son is a highly detailed Dutch Golden Age genre painting by Bartlomiej Strobel. Executed in 1616, the work captures a bustling domestic or banquet scene within a palatial setting. The composition features several figures, including children, servants, and a dog, all situated within an opulent interior.
In Lazarus in the Palace of the Rich Man, Bartlomiej Strobel presents a grand, opulent interior that captures a scene of profound wealth and excess. The composition is anchored by classical architectural elements that organize the space with mathematical precision. Massive Corinthian columns and pilasters establish strong vertical lines, guiding the eye through a deep linear perspective. This spatial arrangement draws the viewer toward an arched opening in the distance,…
This work is the Portrait of Jerzy Ossoliński, a significant oil on canvas created by the artist Bartlomiej Strobel. Painted about 1635, the portrait captures the likeness of the nobleman Jerzy Ossoliński. It is currently held within the collection of the National Museum in Warsaw.
The portrait depicts Nikolaus Hübner, a counsellor of Thorn, presented in a three-quarter length composition. He is positioned centrally against a dark, muted background that offers no architectural or landscape distractions. The subject wears a heavy black garment that absorbs much of the light, contrasted by a wide, crisp white collar that frames his face. His skin is pale, and his features are marked by the textures of age, including…
Portrait of Jerzy Ossoliński. (1635), Nacionalinis muziejus Varšuvoje, Varšuva. Toliau seka Return of the Prodigal Son (1616) ir Lazarus in the Palace of the Rich Man (1625).
44 metų amžiaus: Portrait of Jerzy Ossoliński. sukurta 1635 m. Nr. Bartlomas Strobelis gimė 1591.
Portrait of Jerzy Ossoliński., Return of the Prodigal Son, Lazarus in the Palace of the Rich Man, Interior with Figures, Imaginary church interior with a procession, Our Lady of the Rosary with St. Dominic and St. Nicholas, The King and Queen of Bohemia dining in Public, Portrait of Janusz Radziwiłł (1612–1655)., Interior of a Catholic Church ir Interior of a Church. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 47 Bartlomas Strobelis darbų, skirtų laikotarpiui nuo 1602 iki 1645.
Daugiausia – Statens Museum For Kunst (Kopenhaga), Nacionalinis muziejus Varšuvoje (Varšuva) ir Gemäldegalerie (Berlynas). Viršuje esančiame muziejų sąraše yra visi jie.
1620s laikotarpiu: 14 iš 43 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Lazarus in the Palace of the Rich Man.
Šioje pusėje seniausias darbas yra Interior of a Baroque Church (1602), o naujausias – An Imaginary Church Interior (1645).
People (22), Architecture (21) ir Columns (16) iš 43 šioje pusėje esamų darbų.
Oil On Canvas, iš 43 šios puslapio darbų – 17.
Baroque, vadovaujantis šios puslapio originalais kūriniais.
Interior of a Church, Party Scene ir Sumptuous renaissance interior with a banquet: Statens Museum For Kunst, Kopenhaga kolekcijoje yra 5 šioje pusėje esančių darbų.
Bartholomeus Corneliszoon van Bassen stands as a singular figure within the Dutch Golden Age, a master whose vision bridged the gap between the structural precision of architecture and the evocative storytelling of painting. Born in Antwerp, Belgium, his life and career were deeply intertwined with the vibrant artistic landscape of The Hague. As both a painter and an architect, Van BASSEN possessed a rare ability to render the grandeur of interior spaces with a meticulousness that only a builder could achieve. His work often serves as a window into the opulent, yet intimately detailed, world of wealthy Dutch households and sacred halls, capturing the very essence of bourgeois aspiration and social ritual.
His professional journey was marked by significant institutional recognition and civic responsibility. After becoming a member of the Delft Guild of St. Luke in 1613, he moved to The Hague in 1622, eventually ascending to prominent roles within the local guild, including serving as dean and headman. His architectural prowess was not merely theoretical; in 1638, he was appointed city architect of The Hague. This dual identity allowed him to approach the canvas with an unparalleled understanding of perspective, light, and structural form. He contributed to significant projects, such as the restoration of the City Hall and his involvement with the building of the Nieuwe Kerk, and even designed the summer palace Het Koningshuis for Frederick V.
The true magic of Van Bassen’s oeuvre lies in his ability to transform static architectural studies into living, breathing scenes. He is celebrated for his exceptional skill in capturing the essence of architectural spaces, ranging from the solemnity of a cathedral nave to the sprawling grandeur of domestic halls. In works such as Interior of an Imaginary Church, one can observe his mastery over light and shadow, where tall arched ceilings and Corinthian capitals are rendered with such clarity that the viewer feels transported into the space. His compositions often utilize a muted palette of earth tones, which enhances the sense of reverence and permanence within his depicted structures.
While his architectural foundations provided the stage, it was the addition of staffage—the small human figures inhabiting these spaces—that breathed life into his paintings. Often collaborating with other skilled painters like Anthonie Palamedesz, Esaias van de Velde, and Jan Martszen de Jonge, Van Bassen created complex tableaux vivants. These scenes frequently depict social rituals, such as banquets or quiet conversations, set against the backdrop of meticulously constructed halls. Through this technique, he captured the grandeur of domestic life, turning a mere depiction of an interior into a profound exploration of the social fabric of the Dutch Golden Age.
The historical significance of Bartholomeus Corneliszoon van Bassen extends beyond his individual canvases to his role as a mentor and educator. He maintained a workshop where he took on pupils, most notably Gerard Houckgeest and Jan van der Vucht, ensuring that his precise approach to architectural painting would influence subsequent generations of Dutch artists. His ability to blend the rigid lines of architecture with the fluid, atmospheric qualities of oil painting helped define a specific genre of Dutch art that celebrated both the physical environment and the human experience within it.
Today, his legacy is preserved through his remarkable contributions to the history of European art, characterized by:
