Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 5 werken van Barent van Kalraet in onze catalogus
Kortom
Volgens de visie van de galerie is het beroemdste schilderij van Barent van Kalraet Horsemen (1693), waarvan het origineel in het Statens Museum for Kunst in Kopenhagen hangt. A River Landscape (1691) en Unknown Lady maken het trio compleet dat elk oog herkent. Van de 5 werken van Barent van Kalraet in onze catalogus presenteert de galerie hieronder de 5 bekendste werken, elk een origineel met de jaartal, het museum en wat het uniek maakt.
The air hangs heavy and thick with mist, blurring the line between the earth and the heavens. In this monochromatic landscape, three figures on horseback move through a rural setting, their presence felt more through atmosphere than through sharp detail. The composition leans heavily to the right, where the riders gather, while the left side of the canvas opens into a vast, pale expanse of sky and distant, hazy hills.…
is an oil on oak panel by the Dutch Golden Age painter Barent van Kalraet. Executed about 1691, the work captures a serene riverside scene populated by various boats and figures. The artist, a native of Dordrecht, Netherlands, applied his technique to this specific depiction of water and commerce.
De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.
De 3 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Barent van Kalraet | Schilderijen uit deze lijst |
|---|---|---|---|
 Dordrechts Museum |
Dordrecht | 2 | Army Camp, Trading Harbor |
 Statens Museum for Kunst |
Kopenhagen | 1 | Horsemen |
 Detroit Institute of Arts |
Detroit | 1 | A River Landscape |
De originele werken van Barent van Kalraet op deze pagina dateren van binnen een periode van 3 jaar, van 1691 tot 1693: de galerie toont de meest bekende werken uit elk jaar.
Selecteer een jaar om de originele werken te bekijken.
is an oil on oak panel by the Dutch Golden Age painter Barent van Kalraet. Executed about 1691, the work captures a serene riverside scene populated by various boats and figures. The artist, a native of Dordrecht, Netherlands, applied his technique to this specific depiction of water and commerce.
The air hangs heavy and thick with mist, blurring the line between the earth and the heavens. In this monochromatic landscape, three figures on horseback move through a rural setting, their presence felt more through atmosphere than through sharp detail. The composition leans heavily to the right, where the riders gather, while the left side of the canvas opens into a vast, pale expanse of sky and distant, hazy hills.…
Horsemen (1693), Statens Museum for Kunst, Kopenhagen. A River Landscape (1691) en Unknown Lady volgen.
44 jaar oud: Horsemen dateert uit 1693, en Barent van Kalraet werd geboren in 1649.
Onze catalogus bevat 5 werken van Barent van Kalraet, daterend van 1691 tot 1693.
Voornamelijk in Dordrechts Museum (Dordrecht), Statens Museum for Kunst (Kopenhagen) en Detroit Institute of Arts (Detroit). De bovenstaande museumtabel bevat een volledig overzicht.
Op deze pagina is het vroegste A River Landscape (1691) en het laatste Horsemen (1693).
Trees (2) en Sky (2), verspreid over de 5 werken op deze pagina.
Army Camp en Trading Harbor: het Dordrechts Museum, Dordrecht herbergt 2 van de werken op deze pagina.
Barent van Kalraet, also known as Barent Pietersz Calraat, entered the world on 16 August 1649. He was born in Dordrecht, Netherlands, a place he would remain for the duration of his life. His early years were shaped by the presence of his brother, Abraham Calraet. Within the walls of their home, Barent began to understand the mechanics of the brush and the handling of pigment by watching and learning directly from Abraham.
This familial instruction provided the foundation for his technical development. After these early lessons with his brother, Barent van Kalraet sought further refinement under the guidance of Aelbert Cuyp. This period of study allowed him to move beyond the initial training of his youth and refine his approach to the canvas. His path was one of steady, incremental learning, moving from the domestic lessons of a sibling to the formal instruction of a recognized painter.
His brushwork and focus shifted as the years passed. He did not settle into a single way of seeing the world, instead changing his style several times throughout his career. This movement in his approach suggests a painter who was constantly adjusting his hand to suit different visions or perhaps different moods.
In his later years, his attention turned toward the Rhine landscapes. He adopted a manner of painting that mirrored the work of Herman Saftleven, capturing the specific atmosphere of those river scenes. This was not merely a change in subject, but a change in how he handled the light and terrain of the landscape. He spent time making copies after Saftleven, working closely with the established visual language of that artist to refine his own execution of the genre.
His brushwork often followed the paths laid by others. He spent much of his time making copies after the landscape works of Aelbert Cuyp, absorbing the way light settled into the scenery. This practice extended to the works of Jan Both and Cornelis van Poelenburch, as he looked closely at how they structured their compositions. His hand moved through the styles of Philip Wouwerman and Willem de Heusch, translating their specific approaches to subject and light onto his own canvases.
In his later years, his focus shifted toward the Rhine landscapes. He adopted the manner of Herman Saftleven, seeking to capture the specific atmosphere of those river scenes. While he remained active in the art world, his painting became more of a personal interest than a commercial pursuit. He continued to work even as others were documenting the era, finding his own way through the landscapes he had studied so intently.
The rhythms of life in Dordrecht remained constant for him. He stayed within the same city walls from his birth until his final days. Painting continued to occupy his time even as the years passed, remaining a steady presence in his life. He was still working at his easel during the time that historical accounts of the era were being compiled.
His practice was more a matter of personal habit than a commercial pursuit. He did not seek the heavy business of the professional market, but instead kept to his brushes as a quiet part of his existence. He passed away in Dordrecht on 9 February 1737.
