Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 27 Jean-Baptiste Van Loo darbai mūsų kataloge
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Iš visų paliktų originalų kūrinių Jean-Baptiste Van Loo garsiausias yra Frederick, Prince of Wales (1707-51) (1742), esantis Buckingham Palace kolekcijoje, Londonas. Tiesiog už jų seka Robert Walpole (1740) ir The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire (1740). Mūsų kataloge yra 27 darbų autoriaus Jean-Baptiste Van Loo; galerija išsaugojo 27 labiausiai pasaulyje žyminiausių kūrinių – kiekvienas jų pateikiamas su datos, muziejaus ir istorijos aprašymu.
The Prince stands in a quiet, vertical command. He is draped in heavy velvet, a deep blue that absorbs the light, trimmed with the stark, soft white of ermine. To his side, a table holds a crown, its gold catching a single, sharp light. The background is a dark, indistinct void, pushing his figure forward into the viewer's space. Every fold of his satin clothing carries the weight of his…
This portrait of Robert Walpole, 1st Earl of Orford, was executed by the French artist Jean-Baptiste van Loo in 1740. It was originally painted for Lord Bessborough, capturing a man of significant political weight during a period of stability in Britain. The sitter is presented in his official capacity, wearing the robes of the Chancellor of the Exchequer. This specific depiction by Jean-Baptiste van Loo offers a direct look at…
The portrait depicts The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire, in a three-quarter length pose. He is positioned slightly off-center, facing the viewer with a direct gaze. The subject wears a powdered wig and a blue velvet frock coat over a cerulean blue waistcoat. Gold embroidery traces the edges of the waistcoat and the cuffs. A white lace cravat and delicate lace cuffs provide a sharp contrast to the…
In this 1740 oil on canvas, we encounter Sir Robert Walpole not as a man of action, but as a man of profound influence. The composition is a vertical three-quarter length portrait, positioning the subject slightly off-center to create a sense of monumental presence. He is draped in the heavy, luxurious fabrics of the 18th century, where the stiffness of the embroidered coat meets the softness of a lace cravat.…
Augusta, Princess of Wales (1719-72) emerges from the canvas through the brush of Jean-Baptiste van Loo. This formal portrait captures the Princess in a moment of quiet, regal poise. The French portrait painter Jean-Baptiste van Loo brings a sense of high social status to her likeness, utilizing a composition that emphasizes her nobility. Every detail of her ceremonial attire speaks to a life of immense wealth and importance within the…
In this 1720 oil painting, we witness a scene of profound spiritual movement. The composition is built upon a strong diagonal, pulling the eye from the celestial heights down into the heavy, shadowed confines of a prison. An angel descends through a rift of golden light, breaking the gloom to reach for Saint Peter. The light is not merely a visual element; it is the primary actor in the scene,…
The sky is a heavy, swirling mass of grey and muted blue. From this celestial weight, Diana descends. She moves in a sweeping upward arc, her body twisting with a grace that defies the gravity of the rocky landscape below. Her skin holds a luminous quality, catching a light that seems to fall from a realm beyond the clouds. She is draped in fabric of deep blue and dark green,…
In this portrait, Jean-Baptiste van Loo presents Catherine Opalińska, Queen of Poland. Painted about 1725, the work captures a woman of significant historical standing. Catherine held the position of Queen consort and Grand Duchess consort of the Polish–Lithuanian Commonwealth on two separate occasions. Her life was defined by the complex political landscapes of the eighteenth century, moving between the courts of Europe as a figure of high nobility.
Created about 1730, Apollo and Daphne by Jean-Baptiste van Loo captures the precise moment of metamorphosis. The scene follows the nymph Daphne as she attempts to escape the pursuit of Apollo. This mythological transformation marks the origin of the laurel tree and its enduring connection to the god.
The Portrait of Marie Leszczyńka. is an oil on canvas work executed by the French portrait painter Jean-Baptiste van Loo. Dated 1725, the painting depicts Marie Leszczyńska, who held the position of Queen of France as the wife of King Louis XV. The subject was born at the Château de Fontainebleau. She was the daughter of Stanislaus I Leszczyński and Catherine Opalińska.
Love Leaving Psyche1744 · Opera House
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Portrait Of 4th Earl Of Chesterfield (1694-1773)1740 · Birmingham Museum and Art Gallery
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Portrait Of Sir Richard Temple, 4th Viscount of Birmingham1740 · Birmingham Museum and Art Gallery
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John Hervey, 1st Earl of Bristol (1665-1751)1742 · Ickworth
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Lord John Hervey, 2nd Baron Hervey of Ickworth, PC, MP (1696-1743) holding his Purse of Office as Lord Privy Seal1741 · Ickworth
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Horatio Walpole, 1st Baron Walpole of Wolterton (1678-1757)1739 · Hardwick Hall
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Augusta, Princess of Wales with Members of her Family and Household1739 · Royal Collection
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Young Louis XV, in Cuirass1750
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Portrait of Louis XV1750
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Louis XV, king of France and Navarre1723 · Château de Versailles
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King Louis XV With Armor in His Tent (El Rey Luis XV Con Armadura en Su Tienda)Zaragozos muziejus
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The Bath of DianaMusée des Beaux-Arts
23
William Murray, 1st Earl of MansfieldHouston meno muziejus
24
Portrait of a Lady (Madame Favart) in a pink and white striped dress
25
Portrait of Catherine Opalińska as Queen of Poland
26
Triumph of Galatea1720 · Ermitažas
27
William Murray, 1st Earl of Mansfield1737 · National Portrait Gallery
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Jean-Baptiste Van Loo darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Buckingham Palace |
Londonas | 2 | Frederick, Prince of Wales (1707-51), Augusta, Princess of Wales (1719-72) |
 National Portrait Gallery |
Londras | 2 | Robert Walpole, William Murray, 1st Earl of Mansfield |
 Ermitažas |
Šv. Peterburgas | 2 | Portrait of Sir Robert Walpole, Triumph of Galatea |
 Opera House |
Versalio | 2 | Catherine Opalińska, Queen of Poland, Love Leaving Psyche |
 Château de Versailles |
Versalio | 2 | Portrait of Marie Leszczyńka., Louis XV, king of France and Navarre |
 Birmingham Museum and Art Gallery |
Birminghamas | 2 | Portrait Of 4th Earl Of Chesterfield (1694-1773), Portrait Of Sir Richard Temple, 4th Viscount of Birmingham |
 Ickworth |
Safolko apskritis | 2 | John Hervey, 1st Earl of Bristol (1665-1751), Lord John Hervey, 2nd Baron Hervey of Ickworth, PC, MP (1696-1743) holding his Purse of Office as Lord Privy Seal |
 Yale Center for British Art |
New Haven | 1 | The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
In this 1720 oil painting, we witness a scene of profound spiritual movement. The composition is built upon a strong diagonal, pulling the eye from the celestial heights down into the heavy, shadowed confines of a prison. An angel descends through a rift of golden light, breaking the gloom to reach for Saint Peter. The light is not merely a visual element; it is the primary actor in the scene,…
The sky is a heavy, swirling mass of grey and muted blue. From this celestial weight, Diana descends. She moves in a sweeping upward arc, her body twisting with a grace that defies the gravity of the rocky landscape below. Her skin holds a luminous quality, catching a light that seems to fall from a realm beyond the clouds. She is draped in fabric of deep blue and dark green,…
The Prince stands in a quiet, vertical command. He is draped in heavy velvet, a deep blue that absorbs the light, trimmed with the stark, soft white of ermine. To his side, a table holds a crown, its gold catching a single, sharp light. The background is a dark, indistinct void, pushing his figure forward into the viewer's space. Every fold of his satin clothing carries the weight of his…
Frederick, Prince of Wales (1707-51) (1742), Buckingham Palace, Londonas. Toliau seka Robert Walpole (1740) ir The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire (1740).
58 metų amžiaus: Frederick, Prince of Wales (1707-51) sukurta 1742 m. Nr. Jean-Baptiste Van Loo gimė 1684.
Frederick, Prince of Wales (1707-51), Robert Walpole, The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire, Portrait of Sir Robert Walpole, Augusta, Princess of Wales (1719-72), Saint Peter Delivered from Prison, Diana and Endymion, Catherine Opalińska, Queen of Poland, Apollo and Daphne ir Portrait of Marie Leszczyńka.. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 27 Jean-Baptiste Van Loo darbų, skirtų laikotarpiui nuo 1720 iki 1744.
Daugiausia – Buckingham Palace (Londonas), National Portrait Gallery (Londras) ir Ermitažas (Šv. Peterburgas). Viršuje esančiame muziejų sąraše yra visi jie.
1740s laikotarpiu: 10 iš 27 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Frederick, Prince of Wales (1707-51).
Šioje pusėje seniausias darbas yra Saint Peter Delivered from Prison (1720), o naujausias – Love Leaving Psyche (1744).
Man (15), Gold embroidery (7) ir Wig (7) iš 27 šioje pusėje esamų darbų.
Oil On Canvas, iš 27 šios puslapio darbų – 18.
Rococo, vadovaujantis šios puslapio originalais kūriniais.
Frederick, Prince of Wales (1707-51) ir Augusta, Princess of Wales (1719-72): Buckingham Palace, Londonas kolekcijoje yra 2 šioje pusėje esančių darbų.
Lūžta akimirka gyvenime nUO Jean-Baptiste Van Loo atėjo kartu su princas Emmanuel Philibert de Carignano globą, kuris pastebėjo augantį Van Loo talentą ir finansavo jo kelionę į Romą. Šis viešliavimas tapo transformatyvu. Dirbdamas Benedetto Luti mokyme, Van Loo pasinertė į gyvybingą Italijos sostinės meno aplinką, nuolydingai tobulindamas savo įgūdžius ir kartu prisidedendamas prie svarbaus miesto religinio kraštolapio kūrimo. Jo kūrinys „Kristaus kankinimas“, skirtas Santa Maria in Monticelli bažnyčiai, sulaukė didelio pripažinimo, demonstruodamas dramatišką kompoziciją ir emocionalią intensyvumą. Ši ankstyva sėkmė įtvirtino jį kaip tapininką, gebantį sujungti techninę meistriškę su giliu dvasiniu išraiška. Po Romos Van Loo meno kelias vedė jį į Turiną, kur jis tapė Karlando Emanuelio II, Savojos dvikirato, bei jo dvaro sulaukė, taip dar labiau sustiprinant savo reputaciją tarp Europos aristokratijos. Šio etapo kulminacija buvo jo paskutinis pasiekimas – rinkimas į prestižinę Paryžiaus Karališkąją dailės ir skulptūros akademiją, kas tapo svarbiu etapu jo karjeroje ir atvėrė duris į užsakymus iš aukščiausių Prancūzijos visuomenės sluoksnių. Be to, jis atliko restauracinius darbus Fontainebleau rūsyje, taip demonstruodamas savo universališkumą, išėjusį už portretų kūrimo ribas.
