Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 14 Jozefas Van Lerius darbai mūsų kataloge
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Self-portrait (1852) yra viena矚 most žiūrėlių pritraukiančių Jozefas Van Lerius tapierių; originalas saugomas Antverpio karališkasis gražiųjų menų muziejus, Antverpys. Po to akmuo patenka į Madame LeDelier (1854) ir Young Girl from the Hotzenwald (1852). Iš 14 Jozefas Van Lerius darbų mūsų kataloge šios 14 yra garsiausios – kiekvienas yra unikali originali dai̇lia, pateikta su jos metais, muziejumi ir priežastimi, kodėl ji išlieka per amžius.
The oil painting titled Self-portrait is a direct gaze from the artist Jozef Van Lerius. Created in 1852, the work captures the man behind the brush during a period of significant transition in his life. He was born on 23 December 1823 in Boom, Antwerp, Belgium, and would eventually pass away on 29 February 1876 in Mechelen.
5 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Jozefas Van Lerius darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Antverpio karališkasis gražiųjų menų muziejus |
Antverpys | 8 | Self-portrait, Madame LeDelier, Madame Valentine De Give-LeDelier as a Child |
 Museum Mayer van den Bergh |
Antwerp | 3 | Henriëtte Mayer van den Bergh, Portrait of Henriette Mayer van den Bergh, Henriette Mayer van den Bergh |
 Augustiner Museum |
Freiburgas | 1 | Young Girl from the Hotzenwald |
 Amsterdam Museum |
Amsterdamas | 1 | Girl from Dalarne |
 Smithsonian American Art Museum |
Vašingtonas | 1 | Brides of Venice |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
The oil painting titled Self-portrait is a direct gaze from the artist Jozef Van Lerius. Created in 1852, the work captures the man behind the brush during a period of significant transition in his life. He was born on 23 December 1823 in Boom, Antwerp, Belgium, and would eventually pass away on 29 February 1876 in Mechelen.
Self-portrait (1852), Antverpio karališkasis gražiųjų menų muziejus, Antverpys. Toliau seka Madame LeDelier (1854) ir Young Girl from the Hotzenwald (1852).
29 metų amžiaus: Self-portrait sukurta 1852 m. Nr. Jozefas Van Lerius gimė 1823.
Self-portrait, Madame LeDelier, Young Girl from the Hotzenwald, Girl from Dalarne, Henriëtte Mayer van den Bergh, Portrait of Henriette Mayer van den Bergh, Madame Valentine De Give-LeDelier as a Child, Two Children Playing Around, Princess Herminie de Looz et Corswarem ir Brides of Venice. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 14 Jozefas Van Lerius darbų, skirtų laikotarpiui nuo 1852 iki 1871.
Daugiausia – Antverpio karališkasis gražiųjų menų muziejus (Antverpys), Museum Mayer van den Bergh (Antwerp) ir Augustiner Museum (Freiburgas). Viršuje esančiame muziejų sąraše yra visi jie.
1850s laikotarpiu: 8 iš 14 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Self-portrait.
Šioje pusėje seniausias darbas yra Self-portrait (1852), o naujausias – Brides of Venice (1871).
Self-portrait, Madame LeDelier ir Madame Valentine De Give-LeDelier as a Child: Antverpio karališkasis gražiųjų menų muziejus, Antverpys kolekcijoje yra 8 šioje pusėje esančių darbų.
Jozef Van Lerius was born on 23 December 1823 in Boom, Antwerp, Belgium. His technical foundation was established early through rigorous institutional training. By 1838, he was already working as an apprentice draftsman at the Académie Royale des Beaux-Arts in Brussels. This early exposure to formal drafting provided the structural discipline that would define his later output.
The trajectory of his development shifted toward Antwerp, where he studied under Gustave Wappers. From 1839 to 1844, Van Lerius remained a student of Wappers, absorbing the specific methodologies of the Antwerp school. This period of instruction was not merely about technique; it was a direct immersion into the academic traditions of the time. His time in Wappers' circle provided the necessary technical grounding for a career that would eventually move into both instruction and high-level portraiture.
Van Lerius operated at the intersection of Romantic-Historical precision and the emerging clarity of Realism. His technical foundation relied on a dual mastery of draftsmanship and color. He was a thorough draughtsman, capable of rendering figures with a classical accuracy that defined his approach to both mythological and biblical scenes. This structural rigor allowed him to navigate complex compositions without losing the physical presence of his subjects. He was also a highly qualified colorist, using pigment to define form and mood rather than merely decorative surface detail.
His subject matter was broad, ranging from high-stakes historical and religious narratives to intimate genre pictures. He possessed a specific talent for depicting women and children, often imbuing these figures with a sense of psychological weight. Whether painting a glamorous lady of society or a domestic scene, his work maintained a consistent focus on the interplay between light and texture. This ability to balance the dramatic tendencies of Romanticism with a realistic attention to detail made his output highly versatile. His skill in handling color was particularly evident in his ability to render the shimmer of fabric or the subtle tones of human skin.
Van Lerius secured international recognition through high-profile acquisitions and exhibitions that placed his work in significant collections. In 1852, Queen Victoria purchased his painting Premier Né (First Born), a work depicting a young couple with a baby. This acquisition established his presence within royal circles. His reputation grew further through the exhibition of Virtue Triumphant, which was shown in Paris and Amsterdam in 1865. This specific piece earned him a gold medal and an election as an honorary member of the Academy.
His most recognized subject remains Lady Godiva, a work presented at the Antwerp Triennial Salon in 1870. The painting was acquired by the London art dealer Henry Graves, moving it into the sphere of major commercial art trade. His reach extended beyond Europe, with works finding their way to collections in San Francisco and St. Petersburg. Even in the United States, his influence persisted through public gifts; in 1909, the oil painting Cinderella and Her Sisters was donated to the Chillicothe & Ross County Public Library in Ohio, where it remains on display in the reference room today.
