Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 33 Jan de Stomme darbai mūsų kataloge
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Portrait of a Boy (1654) yra viena矚 most žiūrėlių pritraukiančių Jan de Stomme tapierių; originalas saugomas Museum Boijmans Van Beuningen, Roterdamas. Po to akmuo patenka į Portrait of Geerteke van Scheltinga (1635) ir Self-portrait (1635). Iš 33 Jan de Stomme darbų mūsų kataloge šios 33 yra garsiausios – kiekvienas yra unikali originali dai̇lia, pateikta su jos metais, muziejumi ir priežastimi, kodėl ji išlieka per amžius.
A young boy gazes directly from the canvas, his expression marked by a solemn, steady dignity. He is positioned in a three-quarter length view against a dark, indistinct background that pushes his figure into the foreground. The composition relies heavily on chiaroscuro, using a strong light source from the upper left to sculpt the contours of his face and hands. This directional lighting creates deep shadows on the right side…
Portrait of a woman, possibly Elisabeth Simons1647 · Groninger Museum
12
Portrait of a man, possibly Roelof Pathuis (ca 1602-1647)1647 · Groninger Museum
13
Unknown Gentleman,1657 · Groninger Museum
14
Evert and Reint Lewe,1657 · Groninger Museum
15
Allard Tjarda van Starckenborgh,1652 · Groninger Museum
16
Two girls from Groningen1654
17
Portrait of Clara Joachimsdr. van Andrée (?-1697)1650 · Fries Museum
18
Houcke van Vreeden, wife of Gerhard ten Berge1655 · Groninger Museum
19
Burgemeester Gerhard ten Berge1655 · Groninger Museum
20
Portrait of Regnerus Tjaerda1651 · Groninger Museum
21
Evangelist St. Mathew1655 · Groninger Museum
22
Portrait of a Girl with a Goat and a Dog, possibly Beerta Elisabeth Gockinga (1654-1711)1656 · Groninger Museum
23
Evangelist St. John1655 · Groninger Museum
24
Portrait of Johanna Folckers1651 · Groninger Museum
25
Portrait of Melchior van Lissebon (1627-....)1651 · Groninger Museum
26
Geertruida Alberda, vrouwe van Middelstum1653 · Groninger Museum
27
Joan Lewe, heer van Middelstum op 30-jarige leeftijd1653 · Groninger Museum
28
Portrait of Elisabeth Hooftman van Godlinze gezegd Eyckelenberg (1625-....)1653 · Groninger Museum
29
Portrait of Abel Coenders Lewe tot Asinga 1624-1663)1653 · Groninger Museum
30
Evangelist St. Luke1655 · Groninger Museum
31
Portrait of Frederika, Edzard Jacob and Lambert Tjarda van Starkenborgh1654 · Groninger Museum
32
Portrait of a dead child wearing a mourning wreath around its head1654 · Groninger Museum
33
Portrait Of A Boy, wearing a Grey Embroidered Suit and Holding a Feathered Hat
5 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Jan de Stomme darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Groninger Museum |
Hroningen | 23 | Duurt Sirps Elema Tho Allersma (1618-1682), Meenwertien Fockens (ca. 1620-1645), Family portrait of Bouwina Coenders van Helpen (..-1667) and her daughters Gratia Susanna Clant (1630-1690) and Amelia Clant (1633-1695) |
 Fries Museum |
Leeuwarden | 5 | Portrait of Geerteke van Scheltinga, Portrait of Dirck Fogelsangh (1600-1663), Portrait of Poppe van Burmania (1603-1676) |
 Museum Boijmans Van Beuningen |
Roterdamas | 1 | Portrait of a Boy |
 Museum Martena |
Waadhoeke | 1 | Self-portrait |
 Holburne Museum |
Bato | 1 | Portrait of a gentleman |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
A young boy gazes directly from the canvas, his expression marked by a solemn, steady dignity. He is positioned in a three-quarter length view against a dark, indistinct background that pushes his figure into the foreground. The composition relies heavily on chiaroscuro, using a strong light source from the upper left to sculpt the contours of his face and hands. This directional lighting creates deep shadows on the right side…
Portrait of a Boy (1654), Museum Boijmans Van Beuningen, Roterdamas. Toliau seka Portrait of Geerteke van Scheltinga (1635) ir Self-portrait (1635).
39 metų amžiaus: Portrait of a Boy sukurta 1654 m. Nr. Jan de Stomme gimė 1615.
Portrait of a Boy, Portrait of Geerteke van Scheltinga, Self-portrait, Portrait of Dirck Fogelsangh (1600-1663), Portrait of a gentleman, Portrait of Poppe van Burmania (1603-1676), Portrait of Dorck Fogelsangh (1600-1663), Duurt Sirps Elema Tho Allersma (1618-1682), Meenwertien Fockens (ca. 1620-1645) ir Family portrait of Bouwina Coenders van Helpen (..-1667) and her daughters Gratia Susanna Clant (1630-1690) and Amelia Clant (1633-1695). Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 33 Jan de Stomme darbų, skirtų laikotarpiui nuo 1635 iki 1657.
Daugiausia – Groninger Museum (Hroningen), Fries Museum (Leeuwarden) ir Museum Boijmans Van Beuningen (Roterdamas). Viršuje esančiame muziejų sąraše yra visi jie.
1650s laikotarpiu: 21 iš 33 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Portrait of a Boy.
Šioje pusėje seniausias darbas yra Portrait of Geerteke van Scheltinga (1635), o naujausias – Unknown Gentleman, (1657).
Duurt Sirps Elema Tho Allersma (1618-1682), Meenwertien Fockens (ca. 1620-1645) ir Family portrait of Bouwina Coenders van Helpen (..-1667) and her daughters Gratia Susanna Clant (1630-1690) and Amelia Clant (1633-1695): Groninger Museum, Hroningen kolekcijoje yra 23 šioje pusėje esančių darbų.
In the vibrant, bustling landscape of the Dutch Golden Age, where the air was thick with the scent of maritime trade and the fervor of religious debate, there existed a painter whose very existence was defined by a profound silence. Jan Jansz. de Stomme, born around 1615 in the quiet town of Franeker, navigated a world he could not hear, yet he possessed an extraordinary ability to capture the visible essence of his subjects. Known affectionately—and perhaps somewhat descriptively—as "De Stomme" or "the Mute," this artist transformed his sensory isolation into a unique form of visual eloquence. His life, marked by early tragedy and a resilient spirit, serves as a testament to the power of perception beyond the spoken word.
Orphaned at a young age following the death of his father, a prominent local official, De Stomme’s path was shaped by the guidance of others. Under the guardianship of legal minds and the tutelage of established painters like Wybrand de Geest, he began to translate the nuances of light and shadow onto canvas. There is even a lingering, romantic whisper in art history suggesting a possible connection to the legendary Rembrandt; while scholars debate whether such an apprenticeship truly occurred, the notion that the master of chiaroscuro might have influenced this silent virtuoso adds a layer of mythic depth to his developing style.
As De Stomme matured, his artistic focus sharpened toward the prestigious realm of portraiture. Moving to Groningen in 1643, he established himself as a painter of significant repute, becoming the preferred chronicler for the local aristocracy and the burgeoning merchant class. His work was not merely about capturing a likeness; it was about documenting the dignity, status, and quiet character of the Dutch elite. Through his brush, the textures of fine lace, the weight of velvet, and the subtle expressions of the nobility were rendered with a meticulous devotion that spoke volumes where words failed.
His oeuvre, though numbering around forty-five known works, remains a vital window into the social fabric of 17th-century Netherlands. The significance of his contribution lies in several key areas:
Beyond the technicalities of his craft, the life of Jan Jansz. de Stomme is imbued with a poignant human narrative. Historical accounts suggest that despite his inability to speak, he engaged in profound intellectual and spiritual exchanges, using sign language to discuss complex theological matters with his family and household. This ability to communicate deep, abstract truths through gesture and sight mirrors the very essence of his painting—a silent but powerful dialogue between the artist and the observer.
His life came to a close around 1657 or 1658, a period marked by personal loss that mirrored the fleeting nature of the era's prosperity. Today, when we gaze upon his self-portrait or the faces of those he painted, we are not just looking at historical artifacts; we are witnessing the triumph of a vision that refused to be silenced. De Stomme remains a captivating figure in the Dutch canon, reminding us that true understanding often requires us to look past the surface and listen with our eyes.
