Portrett av Jean Berain The Elder

De 9 mest kjente maleriene av Jean Berain The Elder, et gallerivalg

Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 9 verk av Jean Berain The Elder i vår katalog

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Av alle originalverkene Jean Berain The Elder etterlot seg, er det mest kjente Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663), som er en del av samlingen til Château de Chantilly i Chantilly. Like bak følger Dream in Atys (1690) og Costume du Soleil pour l’acte IV de Phaéton (1683). Vår katalog inneholder 9 verk av Jean Berain The Elder; galleriet har bevart de 9 verkene som verden beundrer mest, hver vist med sin dato, sitt museum og sin historie.

1640 – 1711, Saint-Mihiel Baroque Flest verk: Château de Chantilly

Jean Berain The Elders topp 10 malerier: galleriets utvalg

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Costume du Soleil pour l’acte IV de Phaéton (1683) av Jean Berain The Elder

Costume du Soleil pour l’acte IV de Phaéton

1683 · Print · Château de Chantilly, Chantilly

To gaze upon this depiction of Costume du Soleil pour l’acte IV de Phaéton is to step directly onto the gilded stage of an eighteenth-century opera. Painted by Jean Berain the Elder in 1683, this work transcends a mere portrait or costume study; it captures a moment suspended between myth and spectacle. The subject, elegantly arrayed in what appears to be a sunlit guise—suggested by the title itself—holds a delicate…

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Costume de la Paix pour le prologue de Proserpine (1680) av Jean Berain The Elder

Costume de la Paix pour le prologue de Proserpine

1680 · Giclée Print · Château de Chantilly, Chantilly

To gaze upon Jean Berain the Elder's "Costume de la Paix pour le prologue de Proserpine" is to step directly into an era where allegory and exquisite costume design converged with high art. This painting, executed in 1680, is not merely a portrait of a woman; it is a carefully constructed tableau vivant, a visual poem dedicated to the concept of peace itself. The central figure, adorned in what appears…

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Kostyme til den store frelser Apollon for Bellérophon (1686) av Jean Berain The Elder

Kostyme til den store frelser Apollon for Bellérophon

1686 · Akryl på lerret · Château de Chantilly, Chantilly

Kostume til den store offergiver Apollon for Bellérophon – Et Kunstverk av Jean Berain Eldre Jean Berain Eldre var en nederlandsk maler som opererte i siste halvdel av 1600-tallet og ble født rundt 1577 i Siegen, Tyskland. Selv om hans barndom ble tilbrakt i Antwerpwerp, Belgia, ble Rubens’ liv et kunstnerisk eventyr preget av både kreativ innovasjon og personlige tragedier. Han døde i Roma i 1640 og etterlot seg en…

Motivene som fanget Jean Berain The Elders blikk

De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.

Museene som har Jean Berain The Elders originalverk

De 2 museene som innehar flest av maleriene på denne siden.

Museum By Verker av Jean Berain The Elder Malerier fra denne listen
Château de Chantilly, ChantillyChâteau de Chantilly Chantilly 8 Costume de la Beauté pour la septième et dernière entrée du Ballet des arts, Costume du Soleil pour l’acte IV de Phaéton, Costume de la Paix pour le prologue de Proserpine
Bibliothèque nationale de France, ParisBibliothèque nationale de France Paris 1 Dream in Atys

Jean Berain The Elder tiår for tiår: originalverket som definerer hvert av dem

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Samlere spør om maleriene til Jean Berain The Elder

Hvilket verk er Jean Berain The Elder mest kjent for?Avslør svaret

Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663), Château de Chantilly, Chantilly. Deretter følger Dream in Atys (1690) og Costume du Soleil pour l’acte IV de Phaéton (1683).

Hvor gammel var Jean Berain The Elder da Costume de la Beauté pour la septième et dernière entrée du Ballet des arts ble laget?Avslør svaret

23 år gammel: Costume de la Beauté pour la septième et dernière entrée du Ballet des arts er fra 1663, og Jean Berain The Elder ble født i 1640.

Hvor mange malerier etterlot Jean Berain The Elder?Avslør svaret

Vår katalog inneholder 9 verk av Jean Berain The Elder, datert fra 1663 til 1690.

I hvilke museer henger mesterverkene til Jean Berain The Elder?Avslør svaret

Hovedsakelig i Château de Chantilly (Chantilly) og Bibliothèque nationale de France (Paris). Museumslisten ovenfor viser alle.

I hvilke år malte Jean Berain The Elder sine mest kjente verk?Avslør svaret

I 1660s: 3 av de 9 verkene på denne siden ble laget da, Costume de la Beauté pour la septième et dernière entrée du Ballet des arts av dem.

Hva er de første og de siste kjente originalverkene til Jean Berain The Elder?Avslør svaret

På denne siden er det eldste Costume de la Beauté pour la septième et dernière entrée du Ballet des arts (1663) og det nyeste Dream in Atys (1690).

Hvilke motiver valgte Jean Berain The Elder oftest?Avslør svaret

Costume design (2), Mythology (2) og 17th century art (2), fordelt på 9 verk på denne siden.

Hvilken kunstretning tilhører Jean Berain The Elder?Avslør svaret

Baroque, basert på originalene på denne siden.

Hvilke verk av Jean Berain The Elder stilles ut på Château de Chantilly?Avslør svaret

Costume de la Beauté pour la septième et dernière entrée du Ballet des arts, Costume du Soleil pour l’acte IV de Phaéton og Costume de la Paix pour le prologue de Proserpine: Château de Chantilly, Chantilly har 8 av verkene på denne siden.

Jean Berain The Elder: liv og virke

The Architect of Ornament

Jean Bérain the Elder stands as one of the most influential decorative forces of the French Baroque era, a master whose vision extended far beyond the boundaries of a single canvas. Born in Saint-Mihiel, Meuse, in the Spanish Netherlands, he was the son of a master gunsmith, an upbringing that likely introduced him to the intricate precision of engraving from a young age. Establishing himself in Paris by 1663, Bérain became the artistic heartbeat of the Royal office of the Menus-Plaisirs du Roi. In this prestigious capacity, he served as the primary designer for the most magnificent court spectacles of the age, ranging from the joyous festivities of royal fêtes to the solemn grandeur of state funerals.

His work was not merely decorative but foundational to the visual identity of the French court. As a draughtsman, designer, painter, and engraver, he possessed a rare ability to translate complex mythological narratives into exquisite ornamental patterns. His influence was so pervasive that the connoisseur Pierre-Jean Mariette famously remarked that nothing was done, in whatever genre it might have been, unless it followed Bérain's manner or utilized his designs. This profound reach ensured that his aesthetic permeated not only the halls of Versailles but also spread through the Low Countries, Germany, and London.

The Berainesque Legacy

The hallmark of his genius lies in what became known as the Berainesque style. This aesthetic was characterized by a delicate dance of light arabesques and playful grotesques, creating a sense of movement and elegance that bridged the gap between the heavy grandeur of the Baroque and the upcoming lightness of the Rococo. His designs for furnishings and courtly spectacles provided the essential elements for the style Régence, which eventually blossomed into the French Rocaille and the broader European Rococo movement.

Bérain's technical mastery allowed him to navigate various media with seamless grace:

  • Etching and Watercolor: In works such as his depiction of the costume for Bellérophon, he utilized the precision of etching paired with luminous watercolor washes to capture dramatic lighting and emotive expression.
  • Costume Design: He possessed a singular talent for creating tableaux vivants through costume, where clothing became an allegory for peace or solar power, as seen in his studies for the works of Proserpine and Phaéton.
  • Ornamental Engraving: Drawing from his father's lineage, he utilized engraving to disseminate intricate patterns that influenced architectural and interior design across Europe.

Through his close friendship with Nicodemus Tessin the Younger, Bérain’s nuanced interpretation of the Louis XIV style was transmitted even to the royal circles in Sweden, cementing his status as a truly international figure of the decorative arts. His career was not just a personal success but a period of immense cultural transmission, where his hand guided the very fabric of European elegance.