Atnaujinta spalis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 22 Gillis Van Coninxloo darbai mūsų kataloge
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Woodland with Saint Jerome (1583) yra viena矚 most žiūrėlių pritraukiančių Gillis Van Coninxloo tapierių; originalas saugomas Museum of Fine Arts Ghent (MSK), Gentas. Po to akmuo patenka į Jonah Preaching to the Ninevites (1583) ir Landscape with the judgment of Midas (1598). Iš 22 Gillis Van Coninxloo darbų mūsų kataloge šios 21 yra garsiausios – kiekvienas yra unikali originali dai̇lia, pateikta su jos metais, muziejumi ir priežastimi, kodėl ji išlieka per amžius.
Woodland with Saint Jerome is an oil painting by Gillis Van Coninxloo. Created in 1583, the work places a solitary figure, likely Saint Jerome, within a dense thicket. He rests in the mid-ground, a quiet presence amidst the heavy growth of the trees.
Jonah Preaching to the Ninevites by Gillis Van Coninxloo depicts a specific biblical narrative. Created about 1583, the work illustrates the prophet Jonah delivering a message to the inhabitants of Nineveh. The scene focuses on the interaction between the central figure and the gathered crowd. This subject matter is intended to convey themes of repentance and awe through the varied gestures and facial expressions of the assembly.
In Landscape with the judgment of Midas, Gillis Van Coninxloo organizes a vast, panoramic world through a strict three-tier landscape structure. The viewer enters through a dark, densely wooded foreground where twisting branches and heavy foliage frame the view. This shadowed threshold pushes the eye toward the middle ground, where the mythological judgment of King Midas unfolds among scattered figures and architectural elements. The scale is expansive, a Mannerist arrangement…
Landscape with the Judgement of Paris is a large-scale, panoramic landscape painting by Gillis Van Coninxloo. Created about 1610, the work integrates a mythological narrative into an expansive natural setting. The scene focuses on the Judgement of Paris, situating the figures within a complex, multi-layered environment.
A dense, enveloping canopy of trees dominates this composition, framing a recessed view into the depths of a thick woodland. The scene is defined by an intricate network of organic lines, following the gnarled, twisting forms of trunks and the overlapping silhouettes of foliage. Sunlight filters through the heavy ceiling of leaves, creating a high-contrast environment where bright highlights on leaf edges meet deep, dark shadows within the forest floor.…
Undergrowth1597 · Strasburgos gražiųjų rūšų muziejus
12
Forest Landscape1600 · Detroito meno institutas
13
Mountainous Landscape1600 · Museum Boijmans Van Beuningen
14
Forest Landscape1598 · Liechtenstein Museum
15
Mountain Landscape with River Valley and the Prophet HoseaMuseum Mayer van den Bergh
16
Landscape with Venus and AdonisCleveland Museum of Art
17
Elias is fed by ravensBelgijos Karališkųjų dailės muziejų kompleksas
18
Landscape with a scene of the Conversion of Saul
19
Landscape with a scene of the Conversion of Saul.
20
LandscapeMuseo del Prado
21
Landscape with Leto and Peasants of LykiaErmitažas
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Gillis Van Coninxloo darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhaga | 2 | Jonah Preaching to the Ninevites, A River Landscape |
 Bavarijos valstybinės paveikslų kolekcijos |
Miunchas | 2 | Forest Landscape with the Expulsion of Hagar and Ishmael, Forest Landscape with Hagar and the Angel |
 Museum of Fine Arts Ghent (MSK) |
Gentas | 1 | Woodland with Saint Jerome |
 Staatliche Kunstsammlungen Dresden |
Dresno | 1 | Landscape with the judgment of Midas |
 Nacionalinis Vakarų meno muziejus |
Tokijas | 1 | Landscape with the Judgement of Paris |
 Kunsthistorisches Museum |
Viena | 1 | Wooded landscape |
 Yekaterinburg Museum of Fine Arts |
Yekaterinburg | 1 | Jesus and Zacchaeus |
 Strasburgos gražiųjų rūšų muziejus |
Strasbūras | 1 | Undergrowth |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
Woodland with Saint Jerome is an oil painting by Gillis Van Coninxloo. Created in 1583, the work places a solitary figure, likely Saint Jerome, within a dense thicket. He rests in the mid-ground, a quiet presence amidst the heavy growth of the trees.
In Landscape with the judgment of Midas, Gillis Van Coninxloo organizes a vast, panoramic world through a strict three-tier landscape structure. The viewer enters through a dark, densely wooded foreground where twisting branches and heavy foliage frame the view. This shadowed threshold pushes the eye toward the middle ground, where the mythological judgment of King Midas unfolds among scattered figures and architectural elements. The scale is expansive, a Mannerist arrangement…
A dense, enveloping canopy of trees dominates this composition, framing a recessed view into the depths of a thick woodland. The scene is defined by an intricate network of organic lines, following the gnarled, twisting forms of trunks and the overlapping silhouettes of foliage. Sunlight filters through the heavy ceiling of leaves, creating a high-contrast environment where bright highlights on leaf edges meet deep, dark shadows within the forest floor.…
Woodland with Saint Jerome (1583), Museum of Fine Arts Ghent (MSK), Gentas. Toliau seka Jonah Preaching to the Ninevites (1583) ir Landscape with the judgment of Midas (1598).
39 metų amžiaus: Woodland with Saint Jerome sukurta 1583 m. Nr. Gillis Van Coninxloo gimė 1544.
Woodland with Saint Jerome, Jonah Preaching to the Ninevites, Landscape with the judgment of Midas, Landscape with the Judgement of Paris, Wooded landscape, Forest Landscape with the Expulsion of Hagar and Ishmael, Jesus and Zacchaeus, A River Landscape, Landscape with Jesus and his disciples on their way to Emmaüs (Luke 24:13-35) ir Forest Landscape with Hagar and the Angel. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 22 Gillis Van Coninxloo darbų, skirtų laikotarpiui nuo 1574 iki 1600.
Daugiausia – Statens Museum For Kunst (Kopenhaga), Bavarijos valstybinės paveikslų kolekcijos (Miunchas) ir Museum of Fine Arts Ghent (MSK) (Gentas). Viršuje esančiame muziejų sąraše yra visi jie.
1580s laikotarpiu: 5 iš 21 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Woodland with Saint Jerome.
Šioje pusėje seniausias darbas yra Forest Landscape with the Expulsion of Hagar and Ishmael (1574), o naujausias – Wooded landscape (1600).
Landscape (7), Figures (4) ir Trees (3) iš 21 šioje pusėje esamų darbų.
Oil On Panel, iš 21 šios puslapio darbų – 4.
Jonah Preaching to the Ninevites ir A River Landscape: Statens Museum For Kunst, Kopenhaga kolekcijoje yra 2 šioje pusėje esančių darbų.
Gillis van Coninxloo stands as a pivotal figure in the evolution of Northern landscape art, serving as a vital bridge between the intricate Mannerist traditions and the burgeoning atmospheric depth of the early Baroque. Born in Antwerp, Belgium, his life was deeply intertwined with the rich artistic lineage of the Low Countries. The son of a painter, he was immersed in a world where craftsmanship and natural observation were paramount. His early training under masters such as Pieter Coecke van Aelst the Younger and Lenaert Kroes provided him with a rigorous foundation, but it was his time working in the workshop of Gillis Mostaert that truly allowed his talent to flourish, permitting him to contribute to professional works while honing his unique vision.
His journey was one of movement and expansion, reflecting the shifting political and cultural tides of the era. While his career found its roots in Antwerp, the latter portion of his life saw him traversing much of Europe, working in Germany and eventually settling in the Dutch Republic. This nomadic existence allowed his style to absorb various regional influences, ultimately contributing to a sophisticated development of the forest landscape. He became renowned for his ability to transform a mere depiction of woodland into a profound sensory experience, where the viewer is not merely looking at trees, but is invited to step into a living, breathing ecosystem.
The true brilliance of Coninxloo lies in his unparalleled mastery of the forest landscape. He possessed a singular ability to manipulate light and shadow—a technique often associated with chiaroscuro—to sculpt the dense thickets and intertwining branches that define his compositions. In works such as his Forest Landscape, one can observe an almost obsessive attention to detail; every vein of a leaf and every texture of bark is rendered with meticulous care. He utilized the medium of oil on panel and copper to achieve a luminous quality, allowing light to filter through a canopy of various greens, creating a sense of atmospheric depth that feels both tangible and ethereal.
Beyond the mere technical execution, his landscapes are imbued with a sense of narrative and quiet symbolism. A winding path might lead the eye toward a distant, humble village or an imposing castle on the horizon, suggesting themes of isolation, protection, or the coexistence of civilization and the wild. His work captures a transition in art history where the landscape ceased to be a mere backdrop for human drama and instead became the protagonist itself. Through his careful construction of light, shadow, and depth, Coninxloo created worlds that invite serene contemplation, leaving an indelible mark on the development of the Dutch and Flemish Golden Age.
