Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 86 werken van Jan Baptist Weenix in onze catalogus
Kortom
Van alle originele werken die Jan Baptist Weenix heeft nagelaten, is Tobit, asleep under a vine, is blinded (1642) het bekendst, in de collectie van het Museum Boijmans Van Beuningen, Rotterdam. Direct daarna volgen Italian landscape with shelter and antiques ruins (1658) en Still Life with a Dead Swan (1651). Onze catalogus bevat 86 werken van Jan Baptist Weenix; de galerie heeft de 78 meest bewonderde werken ter wereld bewaard, elk voorzien van de datum, het museum en het verhaal erachter.
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
The air feels heavy with the scent of damp stone and the rhythmic, metallic scrape of steel against stone. Under a vast, expansive sky, a group of figures gathers within the skeletal remains of a classical ruin. A man leans into his work, operating a grinding wheel that cuts through the quietude of the scene. Beside him, a woman sits in repose, while a small child stands close by, watching…
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
The composition relies on strong vertical elements, primarily through imposing columns and a central, highly ornate pedestal topped with a large urn. These structures anchor the scene, providing a sense of scale against the scattered human figures in the foreground and middle ground. Through a use of deep recession, the perspective draws the eye past a colonnade toward a distant, hazy horizon where the masts of ships are visible.
The scene unfolds in 1648, a moment captured in the oil on canvas known as Harbour with Antique Ruins. This work belongs to the hand of Jan Baptist Weenix, an artist who brings the weight of history into a living, breathing maritime setting. The painting presents a world where the weathered stone of classical antiquity meets the constant, rhythmic movement of a working harbor. It is a vision of a…
In "The Angel Raphael Leaving Tobias's Family" by Jan Baptist Weenix, a divine departure unfolds with sudden, celestial energy. The scene captures the exact moment the Angel Raphael ascends toward the heavens, leaving the family below in a state of profound awe and reverence. A powerful diagonal movement pulls the eye from the lower left foreground upward toward the upper left, where the angelic figure climbs into a swirling formation…
vegetable-sellers at the house-door, 5 figures1646
12
caravane near the shore1646
13
Mother and Child1647
14
Circumcision of Moses' son1640 · Nationaal Museum in Warschau
15
Still Life with Game, Hunter and Two Dogs1652 · Bayerische Staatsgemäldesammlungen
16
Butterfly Dog and Dead Bird1649 · Museum Mayer van den Bergh
17
Pleasure boating1650
18
The Sleeping Shepherdess1658 · National Gallery of Ireland
19
Roman Tinker1656 · Städel Museum
20
The love letter1650 · National Museum of Art, Architecture and Design
21
Italian Harbour1651 · Hermitage Museum
22
Italian Peasants among Ruins1650 · Detroit Institute of Arts
23
Sleeping girl1656 · Bayerische Staatsgemäldesammlungen
24
Rest on the Flight into Egypt1657 · Museum Boijmans Van Beuningen
25
Merry Company on a Ferry1649 · Museum Gouda
26
Battle at the foot of the mountain.1650 · Nationaal Museum in Warschau
27
Christina Lepper de Kempenaer and Her Children1653
28
Italian port scene, 16491649 · Centraal Museum
29
Italian Landscape with Horsemen by a Spring1657 · Centraal Museum
30
Before the walls of Rome1650 · National Museum in Wrocław
31
Portrait of a man with a letter1650 · Agnes Etherington Art Center
32
A Landscape with a Ford1660 · Regional Gallery in Liberec
33
In the Campagna1669 · National Gallery of Ireland
34
Dead Fowl Being Eaten by a Cat1653 · Städel Museum
35
Departure of an Oriental Entourage1647 · Louvre
36
Display of Dead Game1641 · Petit Palais
37
Dead Game1641
38
River Landscape with a Ferry1650 · Montreal Museum of Fine Arts
39
Still Life with Dead Game and Poultry1656 · Centraal Museum
40
Still Life with Fowl1650 · Museum voor Schone Kunsten Gent
41
Marine with a Venetian Bucintoro1650 · Staatliche Kunsthalle Karlsruhe
42
The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 16591659 · Rijksmuseum
43
After the Hunt, Jan Baptist Weenix, c. 16561656 · Rijksmuseum
44
Still Life with White Mouse1680 · Ernest Zmeták Art Gallery
45
Still Life with GameHarvard Art Museums
46
The Ford in the River1647 · Hermitage Museum
47
Harbor View with Rider in Oriental Dress,Groninger Museum
48
The Holy Women at the TombNational Gallery of Ireland
49
An Italian SeaportKoninklijk Museum voor Schone Kunsten Antwerpen
50
Architectural interior with foreign shippers, ruins and a shipyard beyond
51
Study of a sheep
52
A pig's carcase
53
The Tinker and His Dog
54
Landscape with Peasants and Animals
55
Dead Partridge1650 · Mauritshuis
56
Goat Lying Down, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
57
A Dog and a Cat near a partially disembowelled Deer, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
58
Still Life with Dead Poultry, Lidded Pitcher and PassglasBayerische Staatsgemäldesammlungen
59
Game-pieceNational Gallery of Ireland
60
Dead game and hunting tackle in landscape
61
Hound with a Joint of Meat and a Cat Looking on
62
Bouquet of flowersGemäldegalerie
63
Shipping in Harbour
64
Herons and Lapwings
65
Still Life of Dead Game in a Landscape with a Huntsman
66
An italian port scene
67
Shepherds and Flocks among Classical Ruins
68
A Coast Scene with Classical RuinsWallace Collection
69
Still Life with Dead Game
70
Hounds and an Owl with Dead Birds and Sculptures in a Landscape
71
Still Life with Dead Birds
72
Family in a Mediterranean Seaport
73
Figures near a SeaportScottish National Gallery
74
A Huntsman cutting up a Dead Deer, with Two DeerhoundsNational Gallery
75
Ancient RuinsSzépművészeti Múzeum
76
Figures among ruinsThe Kremer Collection
77
Ancient Ruins (detail)Szépművészeti Múzeum
78
Girl as Shepherdess1650 · Musée de Picardie
De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.
De 8 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Jan Baptist Weenix | Schilderijen uit deze lijst |
|---|---|---|---|
 Bayerische Staatsgemäldesammlungen |
München | 4 | The Scissors Grinder, Still Life with Game, Hunter and Two Dogs, Sleeping girl |
 Centraal Museum |
Utrecht | 4 | Portrait of René Descartes, Italian port scene, 1649, Italian Landscape with Horsemen by a Spring |
 National Gallery of Ireland |
Dublin | 4 | The Sleeping Shepherdess, In the Campagna, The Holy Women at the Tomb |
 Rijksmuseum |
Amsterdam | 4 | The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, After the Hunt, Jan Baptist Weenix, c. 1656, Goat Lying Down, Jan Baptist Weenix, 1645 - 1660 |
 Museum Boijmans Van Beuningen |
Rotterdam | 2 | Tobit, asleep under a vine, is blinded, Rest on the Flight into Egypt |
 Mauritshuis |
Den Haag | 2 | Italian landscape with shelter and antiques ruins, Dead Partridge |
 Detroit Institute of Arts |
Detroit | 2 | Still Life with a Dead Swan, Italian Peasants among Ruins |
 Nationalmuseum |
Stockholm | 2 | Harbour with Antique Ruins, The Angel Raphael Leaving Tobias's Family |
Van 1640 tot 1659 werkte Jan Baptist Weenix 20 jaar lang: de selectie volgt deze lange carrière jaar voor jaar, via de mooiste originele werken.
Selecteer een jaar om de originele werken te bekijken.
The composition is defined by a sharp diagonal movement, tracing a path from the upper left toward a figure positioned on the ground. A descending figure, draped in billowing white and cream fabric, moves through a dark, receding background. Below, a man dressed in red reaches upward with outstretched arms. The scene is rendered in oil on canvas, utilizing a palette of deep browns, ochres, and umbers. Light emanates from…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
Meer van 1641
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on canvas titled vegetable-sellers at the house-door, 5 figures was painted by Jan Baptist Weenix. This work dates to about 1646. It captures a quiet moment of human gathering near a stone threshold.
Meer van 1646
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
Meer van 1647
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
Meer van 1648
Butterfly Dog and Dead Bird is a painting by Jan Baptist Weenix. Created about 1649, the work captures a quiet moment of mortality. The artist, Jan Baptist Weenix, was born in 1621 near the harbor of Amsterdam. He was the son of an architect, a lineage that perhaps informed his sense of structure and form.
Meer van 1649
The scene unfolds in Pleasure boating, a work by the Dutch Golden Age painter Jan Baptist Weenix. Born in 1621, the artist brings a sense of life to this maritime setting. The composition captures a moment of leisure near a shoreline, where figures gather around a small boat. In the distance, a large tower and architectural ruins rise against the horizon, grounding the activity in a landscape that feels both…
Meer van 1650
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
Meer van 1651
The air feels heavy with the scent of damp earth and the metallic tang of the hunt. In this somber, Baroque-style scene, a sudden stillness has fallen over the landscape, leaving only the echoes of a recent chase. A large white bird, perhaps a swan or a goose, lies at the center of the composition, its wings spread wide in a final, frozen gesture of flight. The pale plumage catches…
The scene unfolds through the oil on canvas of Christina Lepper de Kempenaer and Her Children, a work that captures a quiet moment of familial presence. Jan Baptist Weenix brings this group to life, anchoring the figures within a structured space that feels both intimate and grand. The painting measures 93.4 x 121.3 cm, a scale that allows the viewer to feel the proximity of the subjects and the weight…
In "Roman Tinker" by Jan Baptist Weenix, a solitary figure occupies a rustic, outdoor setting that feels suspended in a quiet moment. The composition follows an asymmetrical arrangement, drawing the eye away from the immediate foreground toward a sprawling landscape. A young man, identified as a tinker, sits in the lower right foreground, his presence anchoring the scene. Near him, various pots rest upon the uneven ground, suggesting a life…
Meer van 1656
A serene and pastoral scene unfolds within a Baroque landscape, capturing a moment of respite during a period of travel. A woman sits amidst the undulating hills, cradling an infant in her arms, while a man mounted on a donkey waits nearby. The composition is anchored by a large, dark, textured tree on the left, which frames the central figures and directs the eye toward the receding landscape. Sheep and…
Meer van 1657
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
Meer van 1658
In The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, the artist Jan Baptist Weenix captures a moment of diplomatic transit. The scene focuses on Ambassador Joan Cunaeus and his secretary Cornelis Speelman. They move through a courtyard, part of a larger mission to stimulate trade in silk and horses within Persia. The air of the meeting feels heavy with the weight of commerce and…
Tobit, asleep under a vine, is blinded (1642), Museum Boijmans Van Beuningen, Rotterdam. Italian landscape with shelter and antiques ruins (1658) en Still Life with a Dead Swan (1651) volgen.
21 jaar oud: Tobit, asleep under a vine, is blinded dateert uit 1642, en Jan Baptist Weenix werd geboren in 1621.
Tobit, asleep under a vine, is blinded, Italian landscape with shelter and antiques ruins, Still Life with a Dead Swan, Tobit Sleeping Under the Vine, The Scissors Grinder, Hunters Near Ruins, Portrait of René Descartes, Monument at a Harbour, Harbour with Antique Ruins en The Angel Raphael Leaving Tobias's Family. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 86 werken van Jan Baptist Weenix, daterend van 1640 tot 1659.
Voornamelijk in Bayerische Staatsgemäldesammlungen (München), Centraal Museum (Utrecht) en National Gallery of Ireland (Dublin). De bovenstaande museumtabel bevat een volledig overzicht.
In 1650: 11 van de 78 werken op deze pagina werden toen gemaakt, waaronder Pleasure boating.
Op deze pagina is het vroegste Circumcision of Moses' son (1640) en het laatste The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659 (1659).
Landscape (18), Ruins (17) en Sky (13), verspreid over de 78 werken op deze pagina.
Oil On Canvas, voor 30 van de 78 werken op deze pagina.
Dutch golden age en Baroque, te oordelen aan de originelen op deze pagina.
The Scissors Grinder, Still Life with Game, Hunter and Two Dogs en Sleeping girl: het Bayerische Staatsgemäldesammlungen, München herbergt 4 van de werken op deze pagina.
Jan Baptist Weenix staat als een uniek figuur binnen de Nederlandse Gouden Eeuw, gevierd om zijn bijzondere vermogen om minutieuze observatie te versmelten met een verbeeldingskrachtige visie. Hoewel zijn artistieke oeuvre relatief bescheiden was in vergelijking met tijdgenoten als Rembrandt of Vermeer, is de bijdrage van Weenix aan de Nederlandse kunstgeschiedenis onmiskenbaar—met name zijn baanbrekende verkenning van Italiaanse landschappen doordrenkt met menselijke figuren, waarmee hij een stilistisch precedent schiep dat tot in latere generaties zou resoneren. Geboren in Amsterdam nabij de bruisende haven in 1621, stamde Weenix af van een familie van architecten, een afkomst die zijn vormende jaren waarschijnlijk heeft gevormd te midden van de intellectuele en structurele dynamiek van die tijd.
Ondanks persoonlijke uitdagingen—verslagen suggereren dat hij door een medische aandoening kampte met spraakproblemen—bezat Weenix een vurige passie voor literatuur en kunst, aangewakkerd door een moeder die proactief zorgde voor een leertijd onder Jan Micker, de zwager van Rembrandt. Deze vroege opleiding gaf hem een gedisciplineerde benadering van tekenen en observatie, wat de kenmerken van zijn oeuvre zou worden. Hij verfijnde zijn vaardigheden verder in Utrecht onder de begeleiding van Abraham Bloemaert en keerde terug naar Amsterdam om te studeren bij Claes Corneliszoon Moeyaert, waarmee hij zijn fundament legde in de heersende artistieke stromingen van de Nederlanden.
De koers van Weenix' carrière werd diepgaand veranderd door zijn reizen, met name zijn reis naar Rome in 1643 samen met Nicolaes Pieterszoon Berchem. Dit avontuur stelde hem in staat om kennis te maken met het levendige intellectuele en artistieke milieu van het Bentvueghels-gilde, een ervaring die hem richting een expansiever stilistisch bereik dreef. In Rome omarmde hij de Italiaanse stijl, gekenmerkt door warm, gouden licht en klassieke landschappen die prachtig contrasteerden met de koelere, meer sombere tonen van de traditionele Nederlandse schilderkunst. Deze periode van Romeinse invloed stelde hem in staat de kunst van het "Italiaans landschap" te beheersen, waarbij de ruige schoonheid van Zuid-Europa werd heruitgevonden door een Noord-Europese lens.
Zijn werk uit deze periode combineerde vaak de grandeur van klassieke decors met intieme, menselijke elementen. Of hij nu havengezichten afbeeldde die fluisterden over maritieme handel of weidse vergezichten die een gevoel van tijdloosheid opriepen, Weenix bezat het unieke vermogen om de atmosfeer van een plek te vangen. Zijn meesterschap beperkte zich niet tot verre horizonten; hij was even bekwaam in het vastleggen van de stille, vaak rauwe realiteit van het leven via zijn stillevens. Zijn afbeeldingen van wild en dieren werden gekenmerkt door een verbazingwekkend realisme, waarbij elke textuur—van de ruwe vacht van een jachthond tot de delicate glans van veren—met adembenemende precisie werd weergegeven.
De betekenis van Jan Baptist Weenix ligt in zijn vermogen om de kloof te overbruggen tussen het rauwe realisme van de Nederlandse traditie en de geïdealiseerde schoonheid van de Italiaanse beweging. Zijn veelzijdigheid stelde hem in staat om diverse onderwerpen te verkennen, van de dramatische spanning in werken zoals Na de Jacht tot de stille, bijna sombere intensiteit van zijn dierstudies. Door zijn penseel wordt de kijker uitgenodigd in een wereld waar de grenzen tussen de geobserveerde natuurlijke wereld en het verbeelde klassieke verleden prachtig vervagen.
Wanneer we reflecteren op zijn leven en werk, bepalen enkele kernaspecten zijn blijvende belang:
Hoewel zijn leven relatief kort was en eindigde in 1661, blijft de indruk die Jan Baptist Weenix achterliet zichtbaar in de evolutie van de landschapsschilderkunst. Hij leerde toekomstige generaties hoe ze naar de horizon moesten kijken, niet slechts als een grens, maar als een canvas voor licht, geschiedenis en menselijke emotie.
