Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 8 werken van Arnold van Ravesteyn in onze catalogus
Kortom
Jacob Cats (1577-1660) (1660) is het schilderij van Arnold van Ravesteyn dat de meeste aandacht trekt; het origineel bevindt zich in het Mauritshuis, Den Haag. Daarna gaat de blik naar Portrait of a Lady in a black dress and a lace collar holding an orange (1641) en Portrait of a woman (1651). Van de 8 werken van Arnold van Ravesteyn in onze catalogus zijn dit de 8 bekendste, elk een uniek origineel gepresenteerd met het jaar, het museum en de reden waarom het blijft voortbestaan.
This 1660 oil on canvas portrait by Arnold van Ravesteyn presents a formal and dignified three-quarter length depiction of the subject, Jacob Cats. The composition positions the elderly man slightly off-center, creating a sense of presence and authority. He is rendered in a realistic Baroque style, characterized by a dramatic use of chiaroscuro where a single light source illuminates his face and hands, leaving much of the background in deep…
De 6 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Arnold van Ravesteyn | Schilderijen uit deze lijst |
|---|---|---|---|
 Statens Museum for Kunst |
Kopenhagen | 2 | Portrait of the Advocate Cornelis Bosch, The Entombment |
 Mauritshuis |
Den Haag | 1 | Jacob Cats (1577-1660) |
 Rijksmuseum Twenthe |
Enschede | 1 | Portrait of a woman |
 Museum Boijmans Van Beuningen |
Rotterdam | 1 | Portrait of a young woman |
 Museum Catharijneconvent |
Utrecht | 1 | Portrait of Cornelis van Wijckerslooth (?-1679) |
 National Gallery of Ireland |
Dublin | 1 | Portrait of a Young Lady |
Kies een decennium om het origineel te zien dat dit tijdperk definieert.
This 1660 oil on canvas portrait by Arnold van Ravesteyn presents a formal and dignified three-quarter length depiction of the subject, Jacob Cats. The composition positions the elderly man slightly off-center, creating a sense of presence and authority. He is rendered in a realistic Baroque style, characterized by a dramatic use of chiaroscuro where a single light source illuminates his face and hands, leaving much of the background in deep…
Jacob Cats (1577-1660) (1660), Mauritshuis, Den Haag. Portrait of a Lady in a black dress and a lace collar holding an orange (1641) en Portrait of a woman (1651) volgen.
55 jaar oud: Jacob Cats (1577-1660) dateert uit 1660, en Arnold van Ravesteyn werd geboren in 1605.
Onze catalogus bevat 8 werken van Arnold van Ravesteyn, daterend van 1641 tot 1683.
Voornamelijk in Statens Museum for Kunst (Kopenhagen), Mauritshuis (Den Haag) en Rijksmuseum Twenthe (Enschede). De bovenstaande museumtabel bevat een volledig overzicht.
In 1660s: 3 van de 8 werken op deze pagina werden toen gemaakt, waaronder Jacob Cats (1577-1660).
Op deze pagina is het vroegste Portrait of a Lady in a black dress and a lace collar holding an orange (1641) en het laatste The Entombment (1683).
Portrait of the Advocate Cornelis Bosch en The Entombment: het Statens Museum for Kunst, Kopenhagen herbergt 2 van de werken op deze pagina.
Born in The Hague in 1605, Arnold van Ravesteyn lived a life deeply connected to the artistic traditions of the Dutch Golden Age. He was raised in an environment where the brush and canvas were part of the family language, having studied under his father, Anthonie van Ravesteyn. This early apprenticeship provided him with a foundation in the craft, as he learned the nuances of portraiture within the walls of his family home. His connection to the art community was further solidified through his presence in the professional circles of the time, moving between the creative hubs of The Hague and Haarlem.
His professional life was marked by a commitment to the teaching of others. He passed his knowledge down to a new generation of painters, including Samuel Cabeljauw, Johannes Dabbe, Daniël Haringh, Job Houttuyn, Otto Hoynck, Willem Frederiksz van Royen, and Willem Wissing. Through these students, his technical approach and his understanding of the human form continued to influence the local art scene long after his own hand had left the brush.
Van Ravesteyn focused his attention on the faces and characters of his contemporaries. His work often captured the quiet dignity of his subjects, using oil on canvas to render the textures of skin and the subtle sheen of fine clothing. In his 1660 work, Portrait of the Advocate Cornelis Bosch, he applied his skill to capture the likeness of a man of standing, focusing on the specific details that defined a person's social presence. He was a painter of the individual, interested in the way light fell across a face or the way a piece of jewelry might catch the eye.
His ability to translate a person's essence onto a flat surface is seen in works such as his Portrait of a young woman. In these pieces, he utilized a careful technique to depict the softness of youth and the weight of fabric. Even in his later years, such as in the 1683 Portrait of a Lady, his work remained a study in the quiet observation of his subjects, often portraying them in half-length views that emphasized their poise and the fine details of their attire, such as pearl jewelry.
