Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 38 dzieł Balthasar Beschey w naszym katalogu
W skrócie
Według galerii najsłynniejszym obrazem Balthasar Beschey jest Portrait of a Family (1731). Salomon receives the Queen of Sheba (1742) i Judgement of Paris (nach einem Stich von Raphael Sadeler d. Ä.) (1742) dopełniają trio, które zna każde oko. Z 38 dzieł Balthasar Beschey w naszym katalogu, galeria prezentuje poniżej 38 najsłynniejszych prac – każda z nich jest oryginałem z podaniem roku powstania, muzeum oraz cech wyróżniających ją na tle innych.
In this 1731 oil on canvas, we find ourselves observing a moment of quiet, structured prosperity. The composition is dense, a pyramidal arrangement of figures that draws the eye inward toward the seated subjects. There is a theatrical quality to the scene, framed by the heavy, sweeping folds of a dark red drapery that hangs from the top of the frame, lending a sense of gravity to the gathering. The…
The canvas titled Salomon receives the Queen of Sheba presents a grand meeting of two monarchs. Painted by Balthasar Beschey about 1742, the work captures a moment of profound diplomacy and ancient majesty. It focuses on the biblical encounter between King Solomon and the Queen of Sheba, a meeting defined by the weight of their respective crowns and the gravity of their exchange.
This work is titled Judgement of Paris (nach einem Stich von Raphael Sadeler d. Ä.) and was executed by the artist Balthasar Beschey. The painting dates to about 1742. It is a monochrome, grayscale composition that depicts a specific mythological scene through a classical lens.
In "The holy family with Saint John in a landscape" by Balthasar Beschey, a quiet moment unfolds within a lush, natural setting. Created about 1738, the scene brings together the central figures of the divine family amidst the greenery. The Virgin Mary and Saint Joseph occupy the heart of this gathering, their presence anchoring the peaceful atmosphere. Beside them, the Christ Child rests, surrounded by the gentle energy of the…
is an oil painting by the Flemish artist Balthasar Beschey. Executed about 1737, the work belongs to the period when Beschey was establishing his reputation within the Antwerp tradition. The composition focuses on the somber, religious narrative of the burial of Jesus, a theme central to the dramatic history painting style of the era.
The painting titled The wickedness of mankind and the ark of Noah (Genesis 7) was executed by Balthasar Beschey. This work, created about 1737, depicts the biblical narrative of the Great Flood. The subject matter focuses on the wickedness of mankind and the impending flood described in Genesis 7. The scene captures a moment of divine judgment through the depiction of human suffering and the rising waters.
In this portrait of Balthasar I Moretus, painted by Balthasar Beschey, we encounter a man of significant standing from the celebrated Moretus family. Created about 1755, the work captures the likeness of a figure deeply embedded in the industrial and intellectual history of Antwerp. Moretus was a man of industry who personally installed a type foundry on the premises of the Plantin-Moretus House, marking his connection to the evolution of…
The Adoration of the Magi is an oil painting by Balthasar Beschey, executed about 1752. The artist, born in Antwerp, Belgium, in 1708, was a central figure in the 18th-century Flemish art scene. Beschey remained active in Antwerp until his death in 1776.
An oval-shaped oil painting presents a religious scene centered on the Holy Family. The composition follows a pyramidal structure, directing the viewer's gaze toward the Christ Child. The color palette relies on warm, earthy tones, including browns, ochres, and deep shadows. These dark areas contrast with the pink and cerulean blue of the Virgin Mary's garments. Light emanates from the central infant, creating a chiaroscuro effect that illuminates the surrounding…
The air in the chamber feels heavy, thick with the scent of stone and impending silence. Cleopatra stands amidst the monumental weight of classical columns, her body a pale contrast to the deep, earthy ochre of the architecture. She does not look at the serpent or the floor; her eyes are fixed upward, searching a cloudy sky for a grace that has already departed. The light falls from the upper…
Self-Portrait1763 · Królewskie Muzeum Sztuk Pięknych Antwerpia
12
Pieter de Clercq and his wife Agatha Stockelaar1771 · Amsterdam Museum
13
A river landscape with figures
14
Garden of loveMuzeum Narodowe w Warszawie
15
Entombment of ChristMuzeum Narodowe w Warszawie
16
Saint Paul and Saint Anthony
17
The fishmarket
18
Joseph sold by his brothersKrólewskie Muzeum Sztuk Pięknych Antwerpia
19
Abraham And Isaac
20
Jacob Presented With Joseph's Coat
21
Venus and AdonisBawarskie Państwowe Zbiory Malarstwa
22
Hypnos Sending Jupiter And Juno To Sleep
23
The Commedia dell'Arte
24
Wooded landscape with travellers resting by classical ruins (one of a pair)
25
he Holy Family with Christ and John in a Landscape
26
Allegory of Hearing, Taste and SmellErmitaż
27
Allegory of Eyesight and the Sense of TouchErmitaż
28
Christ and the Samaritan Woman at the Well
29
An elegant company traditionally identified as the wedding of Jacob Johannes Cremers, all seated and making music on a terrace, a village and lake in the distance
30
A portrait of Jacques-Jean Cremers (1736-after and his wife, dancing, on a garden terrace surrounded by other members of the family playing music (1803))
31
Wooded landscape with travellers resting by classical ruins (one of a pair
32
The Assumption of Mary
33
he brothers try to buy corn from Joseph, the Vice-Roy of EgyptKrólewskie Muzeum Sztuk Pięknych Antwerpia
34
Assumption of the Virgin
35
A turbaned man in Oriental dress A lady in Oriental dress
36
An interior scene with figures seated at a table eating oysters and children playing and blowing bubbles
37
Venera and Adonis in Azerbaijan National Art Museum
38
A Hermit at Prayer1750 · Muzeum Narodowe w Warszawie
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
8 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Balthasar Beschey | Obrazy z tej listy |
|---|---|---|---|
 Bawarskie Państwowe Zbiory Malarstwa |
Monachium | 4 | Salomon receives the Queen of Sheba, Judgement of Paris (nach einem Stich von Raphael Sadeler d. Ä.), The holy family with Saint John in a landscape |
 Muzeum Narodowe w Warszawie |
Warszawa | 4 | The Entombment of Christ, Garden of love, Entombment of Christ |
 Królewskie Muzeum Sztuk Pięknych Antwerpia |
Antwerpia | 3 | Self-Portrait, Joseph sold by his brothers, he brothers try to buy corn from Joseph, the Vice-Roy of Egypt |
 Hatchlands Park |
Guildford | 2 | The Adoration of the Magi, The Adoration of the Shepherds |
 Ermitaż |
Sankt Petersburg | 2 | Allegory of Hearing, Taste and Smell, Allegory of Eyesight and the Sense of Touch |
 Staatliche Kunsthalle Karlsruhe |
Karlsruhe | 1 | The wickedness of mankind and the ark of Noah (Genesis 7) |
 Muzeum Plantin-Moretus |
Antperia | 1 | Portrait of Balthasar I Moretus |
 Amsterdam Museum |
Amsterdam | 1 | Pieter de Clercq and his wife Agatha Stockelaar |
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In this 1731 oil on canvas, we find ourselves observing a moment of quiet, structured prosperity. The composition is dense, a pyramidal arrangement of figures that draws the eye inward toward the seated subjects. There is a theatrical quality to the scene, framed by the heavy, sweeping folds of a dark red drapery that hangs from the top of the frame, lending a sense of gravity to the gathering. The…
The canvas titled Salomon receives the Queen of Sheba presents a grand meeting of two monarchs. Painted by Balthasar Beschey about 1742, the work captures a moment of profound diplomacy and ancient majesty. It focuses on the biblical encounter between King Solomon and the Queen of Sheba, a meeting defined by the weight of their respective crowns and the gravity of their exchange.
In this portrait of Balthasar I Moretus, painted by Balthasar Beschey, we encounter a man of significant standing from the celebrated Moretus family. Created about 1755, the work captures the likeness of a figure deeply embedded in the industrial and intellectual history of Antwerp. Moretus was a man of industry who personally installed a type foundry on the premises of the Plantin-Moretus House, marking his connection to the evolution of…
This work is a Self-Portrait by the Flemish painter Balthasar Beschey. Painted in 1763, the canvas presents the artist himself as the primary subject. It is a direct and personal encounter with the man behind the brush, capturing his likeness during a period of significant professional standing in Antwerp.
In this formal 18th-century double portrait, Balthasar Beschey presents Pieter de Clercq and his wife Agatha Stockelaar. Created about 1771, the work captures the couple in a moment of poised elegance. Beschey, a significant figure in the Antwerp Academy of Arts, brings a sense of quiet dignity to the subjects, presenting them with the composure expected of their social standing. The portrait functions as a study of character and status,…
Portrait of a Family (1731). Następne są Salomon receives the Queen of Sheba (1742) oraz Judgement of Paris (nach einem Stich von Raphael Sadeler d. Ä.) (1742).
23 lat: Portrait of a Family pochodzi z 1731, a Balthasar Beschey urodził(a) się w 1708.
Portrait of a Family, Salomon receives the Queen of Sheba, Judgement of Paris (nach einem Stich von Raphael Sadeler d. Ä.), The holy family with Saint John in a landscape, The Entombment of Christ, The wickedness of mankind and the ark of Noah (Genesis 7), Portrait of Balthasar I Moretus, The Adoration of the Magi, The Adoration of the Shepherds i The Death of Cleopatra. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 38 dzieł artysty Balthasar Beschey, datowanych od 1731 do 1771.
W większości znajdują się w Bawarskie Państwowe Zbiory Malarstwa (Monachium), Muzeum Narodowe w Warszawie (Warszawa) i Królewskie Muzeum Sztuk Pięknych Antwerpia (Antwerpia). Powyższa tabela muzeów zawiera ich pełną listę.
W 1750s: 5 z 38 dzieł na tej stronie powstało w tym czasie, w tym Portrait of Balthasar I Moretus.
Na tej stronie najwcześniejszy to Portrait of a Family (1731), a najpóźniejszy Pieter de Clercq and his wife Agatha Stockelaar (1771).
Landscape (8), Woman (6) i Man (6), w ramach 38 dzieł na tej stronie.
Oil, dla 7 z 38 dzieł na tej stronie.
Baroque, sądząc po oryginałach na tej stronie.
Salomon receives the Queen of Sheba, Judgement of Paris (nach einem Stich von Raphael Sadeler d. Ä.) i The holy family with Saint John in a landscape: Bawarskie Państwowe Zbiory Malarstwa, Monachium posiada 4 dzieł widocznych na tej stronie.
In the heart of the 18th-century Flemish art scene, few figures commanded as much respect and institutional influence as Balthasar Beschey. Born in Antwerp in 1708 into a family deeply rooted in the pigment and brush, Beschey was part of a remarkable artistic dynasty. The son of Jacob Beschey and Maria-Theresia Huaert, he grew up surrounded by the creative energy of his four brothers, all of whom pursued the vocation of painting. This familial immersion in the arts provided him with a foundation that would eventually allow him to transcend the role of a mere practitioner to become a pillar of the Antwerp Academy of Arts.
Beschey’s early artistic journey was defined by the tranquil beauty of the natural world. Under the tutelage of the painter Pieter Strick, he initially dedicated himself to the mastery of landscape painting. During this formative period, his work captured the light and atmosphere of the Flemish countryside, a pursuit that required a delicate touch and an intimate understanding of topographical nuance. However, as his technical prowess grew, so did his ambition. Beschey began to pivot away from the purely observational landscapes toward the more complex and intellectually demanding realms of history painting and portraiture. This evolution mirrored the broader shifts in European art, where the narrative weight of classical and religious themes demanded a higher level of dramatic composition and psychological depth.
Beyond his individual canvases, Beschey’s historical significance is inextricably linked to his leadership within the artistic community of Antwerp. His commitment to the formalization of art education led him to become a professor and, eventually, a director of the prestigious Academy of Arts in Antwerp starting in 1755. His influence extended through generations of students, including notable figures such as Hendrik-Jozef Antonissen, Andries Cornelis Lens, and Pieter Jozef Verhaghen. Through his teaching, Beschey ensured that the traditions of the Flemish masters were preserved and refined for a new era.
His authority was not limited to the classroom; he also held the esteemed position of Dean of the Guild of Saint Luke in the twilight of his career. This role placed him at the center of the economic and regulatory heart of the Antwerp art world. Beschey was not only a creator but also a sophisticated dealer and restorer. He operated an art restoration workshop that maintained the integrity of precious works, and he utilized his international connections to expand the reach of Flemish art. Through his brother Jan Frans, who had established himself in London, Balth::char Beschey facilitated a vital trade route for paintings between the Low Countries and England. Records of shipments sent to London underscore his role as an early architect of the international art market.
The breadth of Beschey’s oeuvre reflects a lifetime of stylistic adaptation. While his early landscapes remain cherished for their atmospheric charm, his later historical works demonstrate a command over the grand narrative style that sought to evoke the majesty of the past. His portraiture, too, stands as a testament to his ability to capture the character and status of his subjects, blending the meticulous detail of the Flemish tradition with the burgeoning elegance of the 18th century.
One must also navigate the complexities of his legacy, particularly regarding the works of his nephew, a younger Balthasar Beschey. The younger artist, active in Amsterdam, possessed a talent for portraiture that occasionally led to historical misattributions, where the uncle's established reputation overshadowed the nephew's emerging hand. Despite these genealogical shadows, the elder Beschey remains a monumental figure. His life represents the intersection of artistic passion, academic rigor, and commercial acumen, marking him as a definitive voice in the enduring story of Flemish Baroque and Rococo transition.
