Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 105 verk av Willem Maris i vår katalog
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Eenden, Willem Maris, c. 1880 - c. 1904 (1904) er maleriet av Willem Maris som vekker mest oppmerksomhet; originalen befinner seg i Rijksmuseum, Amsterdam. Deretter går blikket til The calves (1863) og Bulls on a Rocky Coast (1864). Blant de 105 verkene til Willem Maris i vår katalog, er disse 100 de mest kjente – hver og en et unikt originalverk presentert med sitt årstall, sitt museum og årsaken til at det består.
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The scene unfolds in Bulls on a Rocky Coast, a work painted by Willem Maris around 1864. This landscape captures a rugged moment along a sandy coastline, where the heavy presence of animals meets the vastness of the sky. The composition rests upon the quiet strength of the subjects as they navigate the uneven terrain of the shore.
In "Donkeys on the beach" by Willem Maris, a horizontally oriented landscape unfolds to reveal a quiet moment of rural coastal life. The scene begins in the foreground, where a grassy dune area dominates the view. Here, several donkeys gather, their forms grounding the composition amidst the undulating shapes of the dunes. The arrangement of these animals creates an immediate sense of presence, as if the viewer has just stumbled…
We are looking at Boys herding donkeys, a work by the Dutch painter Willem Maris. This piece dates to 1865, a period when the artist was refining his ability to capture the specific atmosphere of the Low Countries. It is a substantial canvas, measuring 90.3 x 138.0cm.
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The air feels heavy with moisture, a damp stillness that clings to the grass and the heavy coats of the cattle. In this meadow, the light does not simply shine; it filters through a thick, overcast sky, casting a soft, silvery glow over the landscape. A single white cow stands in profile, its form partially swallowed by the deep shadows of dense foliage and dark trees that crowd the right…
The scene opens on a damp polder, where the earth meets the sky in a soft, silvered blur. Several cows are scattered across the meadow, their heavy bodies anchored in the lush, green grass. Some graze in the foreground, their forms solid and tactile, while others recede into the distance, becoming mere shapes against the horizon. A single horse stands toward the right, a quiet addition to the pastoral rhythm.…
The scene unfolds in Ducks Alighting On A Pool, a work that captures a fleeting moment of movement and stillness. Here, the artist Willem Maris invites us to witness the quiet rhythm of nature as waterfowl descend toward the water's surface. The composition centers on these birds, their wings perhaps still catching the light as they settle into the tranquil environment of the woods.
The ferry1859 · Dordrechts Museum
12
Study after nature1863 · The Mesdag Collection
13
White cow at the ditch1877 · Amsterdam Museum
14
Ducks at the edge of the ditch1877 · Rijksmuseum
15
Landscape with Cows1884 · Rijksmuseum Twenthe
16
Meadow Landscape1884 · Groninger Museum
17
Farmer's Wife with Cattle near a Small River (Summer Day)1880 · Museum Boijmans Van Beuningen
18
Under the willows1884 · Amsterdam Museum
19
Ducks bear the water1884 · Amsterdam Museum
20
Cows at evening1884 · Kunstmuseum Den Haag
21
Duck heaven1885 · Kunstmuseum Den Haag
22
Cattle at a watering place1885 · Museum Boijmans Van Beuningen
23
Rowboat in a ditch.1882 · Rijksmuseum
24
Early morning1883 · Museum Boijmans Van Beuningen
25
Cow1887
26
Cows at a Pond1891 · Dordrechts Museum
27
Ducks in the Grass near a Ditch1890 · Museum Boijmans Van Beuningen
28
Summer1897 · Dordrechts Museum
29
Meadow with cows1895 · Rijksmuseum
30
Cow at water's edge1895 · Rijksmuseum
31
Landscape with ditch and cattle1900 · Centraal Museum
32
Cows in a Soggy Meadow, Willem Maris, 1860 - 19001900 · Rijksmuseum
33
Koeien, Willem Maris, 1880 - 19041904 · Rijksmuseum
34
Landscape With Cattle
35
A Summer Day At A Canal Near The Hague
36
Eendjes, Willem Maris, c. 1880 - c. 19071907 · Rijksmuseum
37
Witte eend met kiekens, Willem Maris, 1880 - 19101910 · Rijksmuseum
38
White Cow, Willem Maris, c. 1880 - c. 19101910 · Rijksmuseum
39
A Farmer's Wife With Grazing Cows
40
A Family Of Ducks
41
Winterlandschap, Willem Maris, c. 18751875 · Rijksmuseum
42
Milking TimeSaint Louis Art Museum
43
Cows at a Watering PlaceMuseum of Fine Arts Ghent (MSK)
44
River Landscape with CattleMuseum of Fine Arts
45
Cattle By The River
46
Cows Watering In A Polder Landscape
47
Dutch Landscape
48
Cows In A Dutch Polder Landscape
49
A Dutch River Scene With Sailing Boats
50
Calves at a PondKunstmuseum Den Haag
51
Cows In A Pasture With Two Windmills
52
A View Of A Dutch Canal
53
Cows Near The Waterfront
54
Cattle Grazing
55
The View
56
Cows By The Waters' Edge
57
A Watering Cow
58
Ducks, Spring
59
Cows At Pasture
60
Cows In The Summer Sun
61
Watering Cows In A Polder Landscape
62
A Dutch Landscape
63
Cattle Grazing at the Water's EdgeMinneapolis Institute of Art
64
Cows In A Polder Landscape
65
Cows Grazing On The Waterfront
66
A Summer Landscape With Cattle And Windmills
67
Watering The Cows
68
Ducks And Their Ducklings
69
Ducks And Ducklings On A Riverbank
70
Copy After P. Potter
71
Portrait Of A Woman
72
Cows In Dutch Polder Landscape
73
Company Of Fishermen
74
A Cow At Pasture
75
Ducks In A Meadow
76
Watering Cows
77
Tending The Cows
78
A Cow Near The Waterfront
79
Ducks By A Ditch
80
The Water's Edge
81
Landscape With Cattle
82
Cows In A Wooded Landscape
83
Cattle
84
Ducks
85
Chicken In A Stable
86
Ducks In A Pond
87
A Herdboy With Donkeys On Scheveningen Beach
88
Young Girl In A Landscape
89
Ducks On The Waterfront
90
Cattle In A Sunlit Glade
91
A Polder Landscape
92
Landscape With Cattle And WindmillsTe Whare O Rehua Sarjeant Gallery
93
Boy With A Pike
94
Milking Time
95
Portrait Of A Girl
96
Ducks In The Grass
97
Dead Bird
98
A Calf Drinking From A Pond
99
A Family Of Ducks By The Water
100
A Silver StreamScottish National Gallery
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Willem Maris | Malerier fra denne listen |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 14 | Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows |
 Kunstmuseum Den Haag |
Den Haag | 5 | Donkeys on the beach, Boys herding donkeys, Cows at evening |
 Amsterdam Museum |
Amsterdam | 4 | Feeding of the Calves, White cow at the ditch, Under the willows |
 Museum Boijmans Van Beuningen |
Rotterdam | 4 | Farmer's Wife with Cattle near a Small River (Summer Day), Cattle at a watering place, Early morning |
 Dordrechts Museum |
Dordrecht | 3 | The ferry, Cows at a Pond, Summer |
 The Mesdag Collection |
Haag | 2 | The calves, Study after nature |
 Groninger Museum |
Groningen | 2 | Bulls on a Rocky Coast, Meadow Landscape |
 National Gallery |
London | 1 | Ducks Alighting On A Pool |
Velg et tiår for å se originalverket som definerer det.
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
A white duck with seven chicks by the ditch side.
Eenden, Willem Maris, c. 1880 - c. 1904 (1904), Rijksmuseum, Amsterdam. Deretter følger The calves (1863) og Bulls on a Rocky Coast (1864).
60 år gammel: Eenden, Willem Maris, c. 1880 - c. 1904 er fra 1904, og Willem Maris ble født i 1844.
Eenden, Willem Maris, c. 1880 - c. 1904, The calves, Bulls on a Rocky Coast, Donkeys on the beach, Boys herding donkeys, Feeding of the Calves, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows, Cows On The Water's Edge In A Polderscape og Ducks Alighting On A Pool. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 105 verk av Willem Maris, datert fra 1859 til 1910.
Hovedsakelig i Rijksmuseum (Amsterdam), Kunstmuseum Den Haag (Den Haag) og Amsterdam Museum (Amsterdam). Museumslisten ovenfor viser alle.
I 1880s: 12 av de 100 verkene på denne siden ble laget da, Feeding of the Calves av dem.
På denne siden er det eldste The ferry (1859) og det nyeste Witte eend met kiekens, Willem Maris, 1880 - 1910 (1910).
Animals (24), Landscape (15) og Dutch countryside (9), fordelt på 100 verk på denne siden.
Oil On Canvas, for 8 av de 100 verkene på denne siden.
Hague school og Impressionism, basert på originalene på denne siden.
Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895 og Meadow with Cows: Rijksmuseum, Amsterdam har 13 av verkene på denne siden.
Å tre inn i et landskap malt av Willem Maris er å gå inn i en verden der selve luften besitter tyngde, fuktighet og en dyp følelse av stillhet. Maris ble født i Haag den 18. februar 1844, og skulle etter hvert bli en hjørnestein i Haag-skolen – en bevegelse som fremmet lysende landskap og ga dem en uovertruffen følsomhet for atmosfærlig tilstand. Mens mange av hans samtidige søkte å dokumentere de stive detaljene i det nederlandske kulturlandskapet, ettertraktet Maris noe langt mer forgjengelig. Han erklærte sitt berømte kunstneriske motto: “Jeg maler ikke kuer, men snarere lyseffekter.” Denne unike filosofien forvandlet de ydmyke motivene på hans lerreter – beitende kveg, fuktige enger og hengepil – til beholdere for en guddommelig, glitrende stråling.
Maris' forbindelse til naturen var ikke bare akademisk; den var dypt personlig og rotfestet i hans tidligste minner. Lenge før han mestret penselen, tilbrakte han utallige timer med å observere engenes rytme, der han satt blant buskapen både før og etter skolegangen. Denne intime kjennskapen til dyrenes atferd og anatomi ga ham et instinktivt fundament som senere skulle definere hans arbeid. Hans kunstneriske reise ble ytterligere beriket av en familiær tradisjon for kreativitet, da hans brødre, Jacob og Matthaijs Maris, også var fremragende malere. Denne delte lidenskapen for landskapet fostret et miljø preget av utforskning og gjensidig veiledning, noe som bidro til å forme selve essensen av Haag-skolens estetikk.
Utviklingen i Maris' teknikk reflekterer en dyp modning av visjonen, en bevegelse fra det bokstavelige til det lyriske. I de tidlige fasene av hans karriere var arbeidet preget av et disiplinert fokus på nøyaktige gjengivelser av omgivelsene. I denne perioden anvendte han sin akademiske trening fra Kunstakademiet i Haag for å studere dyreanatomi med møysommelig detaljrikdom, og sørget for at hver kurve og muskel hos motivene ble fremstilt med presisjon. Denne epoken av nitid realisme var betydelig påvirket av hans læretid under kuremaleren Pieter Stortenbeker, som ga Maris essensielle oppdrag som lot ham praktisere håndverket utendørs, og dermed foredle evnen til å fange den rå virkeligheten i de nederlandske polderne.
Etter hvert som hans mestring av mediet vokste, begynte Maris å transcendere ren representasjon. Han beveget seg bort fra forgjengernes stive tradisjoner og omfavnet dristigere fargepaletter og subtile graderinger for å formidle lysets skiftende nyanser – en overgang som knyttet ham til den fremvoksende impresjonistiske ånden. Rundt 1lem 1880 gjennomgikk stilen hans en siste, pustløs transformasjon. Penselstrøkene ble løsere og mer uttrykksfulle, der han benyttet impasto for å skape lerreter som vrimlet av tekstur. I disse senere verkene oppløses ofte grensen mellom jord og himmel i en sømløs, sølvaktig dis, hvor lyset ikke bare faller på landskapet, men ser ut til å stråle ut fra dets indre.
Willem Maris' historiske betydning ligger i hans evne til å finne det sublime i det ordinære. Han var en mester av det som ofte beskrives som "grått lys" – det nyanserte, monokrome spekteret av sølv, perle og skifer som definerer det nederlandske klimaet. Gjennom hans arbeid ble de fuktige, tåkefylte områdene i Nederland løftet til et nivå av poetisk storhet. Hans malerier dokumenterer ikke bare landskap; de oversetter selve pusten fra lavlandene til lerretet, og fanger måten lyset filtreres gjennom tunge atlantiske skydekker for å lyse opp en våt eng eller en stille kanal.
Til syvende og sist må Maris' bidrag til kunsthistorien måles etter hans evne til å fremkalle følelser gjennom atmosfære. Hans arv forblir etset inn i måten vi oppfatter skjønnheten i en overskyet himmel og den rolige verdigheten i det rurale livet. Gjennom hans øyne ser vi at:
