Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 68 Johann Clostermanas darbai mūsų kataloge
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Galerijos akimais, garsiausias Johann Clostermanas paveikslas yra Robert Constable (1651–1714), 3rd Viscount Dunbar (1690). Portrait of a Figure with Cockatoo (1685) ir Henry Purcell (1695) užbaia trio, kurį atpažįsta kiekvienas ž)/\ Iš 68 Johann Clostermanas darbų mūsų kataloge, galerija žemiau pristato 62 garsiausius – kiekvienas yra originalus, su nurodytu metais, muziejumi bei unikaliu aprašymu.
A man leans against a table, his body anchored in a quiet, interior space. He wears the heavy, polished armor of a nobleman, the metal catching a sharp light from the upper left. This light carves the contours of his face and the rigid lines of his breastplate, casting deep shadows that give his form a heavy, physical presence. A blue scarf drapes around his neck, a single splash of…
A young man occupies the center of this vertical composition, his presence anchored by a heavy, navy blue velvet coat. He stands amidst a rugged landscape where the earth meets a heavy, cloudy sky. His dark, wavy hair falls long against the structured collar of a white ruffled cravat. On his right hand, a white cockatoo rests, its feathers catching the light. The bird is a pale, sharp contrast against…
In this portrait of Henry Purcell by Johann Closterman, we encounter a man who shaped the very foundations of English music. Painted about 1695, the work captures the likeness of a figure widely celebrated as the father of modern music in England. Purcell was a presence of significant influence during the Restoration period, a time of profound musical transformation. His career was marked by an early and remarkable ascent within…
In this portrait from 1700, we encounter the steady gaze of Sir Richard Haddock. The subject meets our eyes with a stern, unwavering expression that suggests a life defined by discipline and command. His features are rendered with a meticulous attention to detail, from the heavy texture of his mustache to the individual strands of his long hair. There is a certain weight to his presence, a gravity that comes…
This bust-length portrait depicts John Churchill, 1st Duke of Marlborough. Painted by Johann Closterman in 1687, the work presents the subject in a formal manner. The figure is positioned at a slight angle, with the gaze directed toward the viewer. The subject wears polished steel armor that reflects light, paired with a white cravat at the neck.
In this formal portrait, Johann Closterman positions Major general thomas fairfax ) in a three-quarter pose. The composition is anchored by the subject's stature, defined by strong vertical lines that command the space. A voluminous wig rests atop his head, adding a heavy, sculptural weight to his silhouette. To the right, a landscape element appears faintly in the background, a ghost of a world beyond the immediate shadow.
This portrait of John Poulett, first Earl Poulett, was executed by the artist Johann Closterman around 1690. The subject is depicted as a young boy, presented in a full-length pose that emphasizes his status and lineage. As a British politician and courtier, the young Poulett is portrayed with the formal attributes associated with his noble standing. He is shown standing slightly off-center, accompanied by a small dog at his feet.
Johann Closterman executed the Portrait of David Papillon ) in 1691. The subject is a young man identified as David Papillon, presented in a formal depiction that emphasizes his social standing and character. The work emerged during a period when Closterman was establishing his reputation for capturing the nuances of the European elite.
In this portrait of Isabella Machell, Viscountess Irwin, Johann Closterman captures a moment of quiet dignity. Painted about 1690, the work presents the subject in a serene, seated pose upon an ornate bench. She is positioned within a garden setting, a choice that lends a sense of grace to the composition. The subject gazes directly at the viewer, her expression softened by a gentle smile that suggests a calm and…
In this full-length portrait from 1703, we encounter John Manners, 1st Duke of Rutland, captured in a moment of profound stillness and high station. He is positioned slightly to the left, his presence commanding the vertical space of the canvas. The subject is draped in heavy, ceremonial coronation robes, the deep reds of the velvet creating a striking contrast against the white and black of the ermine fur trim. His…
William Bromley, MP & Speaker (1664 – 1732)1709 · Charlecote Park
12
Colonel George Lucy (1665/66 - 1721)1704 · Charlecote Park
13
Portrait of a Gentleman (said to be John Howe, 1630–1705, chaplain to Oliver Cromwell and his son)1702 · Christ's College
14
John Bridgeman Of Prinknash1638
15
John Bridgeman of Prinknash1638
16
Portrait of Judge George Jeffreys, First Baron of Wem1648
17
John Churchill 1st Duke Of Marlborough And Sarah Duchess Of Marlborough With1660
18
Elizabeth Mulso, Mrs John Dolben1685
19
Sir William Brownlow (1665–1702), 4th Bt of Humby, MP1685 · National Trust
20
Alice Sherard (1659–1721), Lady Brownlow1685 · National Trust
21
John Dolben, MP1685
22
Sir John Brownlow (1659–1697), 3rd Bt, 'Young Sir John'1685 · National Trust
23
Dorothy Mason (1665–1699 1700), Lady Brownlow1685 · National Trust
24
Lady Margaret Tufton, Lady Coventry1680
25
Inscribed as 'Elizabeth Kirkley (d.1674), First Wife of Sir William Blackett, 1st Bt (1st Creation)' (but probably Mary Yorke, 2nd wife of Sir Edward Blackett, 2nd Bt)1680 · Wallington National Trust
26
Lady Amabel Grey (b.1673), Sister of Henry Grey, Duke of Kent1694
27
Charles Seymour (1662–1748), 6th Duke of Somerset, KG, with a Black Page1692 · Petworth House
28
Christopher Wren (1632–1723)1690 · Royal Society
29
Colonel George Lucy (1665 1666–1721)1690 · National Trust
30
Lady Elizabeth Percy, Duchess of Somerset, and Her Son1690 · Petworth House
31
Samuel Pepys1690 · National Portrait Gallery
32
The Children of John Taylor of Bifrons Park1696 · Beningbrough Hall
33
Lady Amabel Grey, Daughter of Henry Grey, Duke of Kent1694
34
William Cowper (1666–1709)1690
35
Portrait of Guilford Killigrew, When a Boy1709
36
Queen Anne (1665–1714) (after Godfrey Kneller)1703 · Windsor Guildhall
37
James Craggs the Elder1710 · National Portrait Gallery
38
Arthur Herbert (c.1648–1716), 1st Earl of Torrington1700
39
Eleanor Brownlow (1691–1730), Later Viscountess Tyrconnel, as a Young Girl1702 · National Trust
40
Sir Henry Parker (c.1640–1713), 2nd Bt of Honington1700
41
Eleanor Brownlow, Later Viscountess Tyrconnel, as a Young Girl1702 · Belton House
42
Unknown man, formerly known as Sir James Thornhill1705 · National Portrait Gallery
43
Maurice Ashley Cooper Anthony Ashley Cooper, 3rd Earl of Shaftesbury1702
44
Sir John Aubrey (c.1650–1700), 2nd Bt
45
Sir Robert Dashwood (1666–1734), Bt
46
Sir William Temple
47
Edward Montagu (1670–1729), 3rd Earl of Sandwich
48
Portrait of a Racehorse and Jockey
49
Portrait Of Charles Calvert
50
Portrait of Edward Radclyffe, 2nd Earl of Derwentwater (oil on canvas)
51
Portrait of Thomas and George Dashwood
52
Portrait of a Lady
53
Mary Hough, Lady (Basil) FirebraceMelford Hall
54
Daniel parke
55
Portrait of Queen Anne
56
Prince George of Denmark (1653–1708), Consort to Queen Anne (after Godfrey Kneller)Windsor Guildhall
57
Edward Montagu, 3rd Earl of Sandwich
58
Elizabeth Crewe, Countess of ArranCalke Abbey
59
Portrait of a Gentleman Wearing Red
60
Probably Sir Edward Blackett (1651 1652–1718), 2nd BtWallington National Trust
61
The Triumph of John, 1st Duke of MarlboroughThe Royal Hospital Chelsea
62
Portrait of William Paul (1673 1711) of Bray, Berkshire, with his dog and a gun
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Johann Clostermanas darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Portrait Gallery |
Londras | 5 | Henry Purcell, John Churchill, 1st Duke of Marlborough, Samuel Pepys |
 National Trust |
Grantham | 5 | Sir William Brownlow (1665–1702), 4th Bt of Humby, MP, Alice Sherard (1659–1721), Lady Brownlow, Sir John Brownlow (1659–1697), 3rd Bt, 'Young Sir John' |
 Charlecote Park |
Warwickshire | 2 | William Bromley, MP & Speaker (1664 – 1732), Colonel George Lucy (1665/66 - 1721) |
 Wallington National Trust |
Wallington | 2 | Inscribed as 'Elizabeth Kirkley (d.1674), First Wife of Sir William Blackett, 1st Bt (1st Creation)' (but probably Mary Yorke, 2nd wife of Sir Edward Blackett, 2nd Bt), Probably Sir Edward Blackett (1651 1652–1718), 2nd Bt |
 Petworth House |
Petworth | 2 | Charles Seymour (1662–1748), 6th Duke of Somerset, KG, with a Black Page, Lady Elizabeth Percy, Duchess of Somerset, and Her Son |
 Windsor Guildhall |
Windsor | 2 | Queen Anne (1665–1714) (after Godfrey Kneller), Prince George of Denmark (1653–1708), Consort to Queen Anne (after Godfrey Kneller) |
 Museo del Prado |
Madridas | 1 | Portrait of a Figure with Cockatoo |
 Ministry of Defence |
London | 1 | Sir Richard Haddock (1629–1715) |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
A young man occupies the center of this vertical composition, his presence anchored by a heavy, navy blue velvet coat. He stands amidst a rugged landscape where the earth meets a heavy, cloudy sky. His dark, wavy hair falls long against the structured collar of a white ruffled cravat. On his right hand, a white cockatoo rests, its feathers catching the light. The bird is a pale, sharp contrast against…
A man leans against a table, his body anchored in a quiet, interior space. He wears the heavy, polished armor of a nobleman, the metal catching a sharp light from the upper left. This light carves the contours of his face and the rigid lines of his breastplate, casting deep shadows that give his form a heavy, physical presence. A blue scarf drapes around his neck, a single splash of…
In this portrait from 1700, we encounter the steady gaze of Sir Richard Haddock. The subject meets our eyes with a stern, unwavering expression that suggests a life defined by discipline and command. His features are rendered with a meticulous attention to detail, from the heavy texture of his mustache to the individual strands of his long hair. There is a certain weight to his presence, a gravity that comes…
Robert Constable (1651–1714), 3rd Viscount Dunbar (1690). Toliausiai eina Portrait of a Figure with Cockatoo (1685) ir Henry Purcell (1695).
30 metų amžiaus: Robert Constable (1651–1714), 3rd Viscount Dunbar sukurta 1690 m. Nr. Johann Clostermanas gimė 1660.
Robert Constable (1651–1714), 3rd Viscount Dunbar, Portrait of a Figure with Cockatoo, Henry Purcell, Sir Richard Haddock (1629–1715), John Churchill, 1st Duke of Marlborough, Major general thomas fairfax ), John Poulett, first Earl Poulett, Portrait of David Papillon ), Isabella Machell, Viscountess Irwin ir John Manners, 1st Duke of Rutland (1638 – 1711). Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 68 Johann Clostermanas darbų, skirtų laikotarpiui nuo 1680 iki 1710.
Daugiausia – National Portrait Gallery (Londras), National Trust (Grantham) ir Charlecote Park (Warwickshire). Viršuje esančiame muziejų sąraše yra visi jie.
1690s laikotarpiu: 14 iš 62 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Robert Constable (1651–1714), 3rd Viscount Dunbar.
Šioje pusėje seniausias darbas yra Lady Margaret Tufton, Lady Coventry (1680), o naujausias – James Craggs the Elder (1710).
Man (13), Women (9) ir Royalty (7) iš 62 šioje pusėje esamų darbų.
Oil On Canvas, iš 62 šios puslapio darbų – 14.
Baroque, vadovaujantis šios puslapio originalais kūriniais.
Henry Purcell, John Churchill, 1st Duke of Marlborough ir Samuel Pepys: National Portrait Gallery, Londras kolekcijoje yra 5 šioje pusėje esančių darbų.
Atpažinęs savo talentą, Clostermanas pademonstravo milžinišką ambiciją ir 1679 m. ženklinčiu žingsniu pakeliavo į Paryžių, siekdamas tolesnio meninio tobulėjimo. Ten jis rado mokymą pas François de Troy – garsų tapininką, garsėjusį prabangiomis aristokratijos gyvenimo vaizdais ir sudėtingomis dekoratyvinėmis schemomis. Šis bendravimas suteikė Clostermanui galimybę prisitaikyti prie prevailingusių Paryžiaus dvaro meninių tendencijų ir nuobliai išugdyti jo įgūdžius perteikti subtilius išraiškas bei puikybę per itin tikslų, meistrišką brushwork'ą.
Nenugeriamas ambicijų ir siekdamas didesnių galimybių, 1681 m. Clostermanas išvyko į Angliją. Čia jis greitai įsitvirtino kaip Riley asistentas, dirbdamas su John Riley – išckiausiu portretų tapininkas, kuris sulaukė didžiulės pagliaudos dėl savo gebėjimo vaizduoti subiectus su neįtikėtinu realizmu ir psichologine galybe. Ypač pastebėti, kad Clostermanas padidino Riley monumentinių šiaurės aristokratijos šeimų portretų vertę, specializuojdamas się į audinių ir draperijų vaizdavimą – techniką, kuri aktai parodė jo meistriškumą dirbant su spalvomų ir tekstūros subtilybėmis.
Ispanijos rėmimas ir meninė tyrimas: 1696 m. Clostermanas gavo kvietimą tarnauti kaip Ispanijos karaliaus Karolius II karoliškasis pavežnikas – tai buvo prestižingas garbės ženklas, suteikęs jam prieigą prie didžiausių ir įtakingiausių Europos ratų. Leisdamas laiką Madride, jis kūrė karaliaus, jo ž monos Mariana Austrijietės bei kitų aukščiausiųjų pareigūnų portretus, taip demonstruodamas savo universališkumą ir gebėjimą prisitaikyti prie įvairių meninių tradicijų. Be to, Clostermanas du kartus atliko plačius keliones po Italiją, sukaupdamas vertingų meno kūrinių, kurie papildė jo asmeninę kolekciją ir išpleitė meninę horizontus.
