Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 30 dzieł Pieter van Lint w naszym katalogu
W skrócie
The Miracle of Saint John of Capestrano (1650) to obraz autorstwa Pieter van Lint, który przyciąga najwięcej spojrzeń; oryginał znajduje się w Królewskie Muzeum Sztuk Pięknych Antwerpia, Antwerpia. Następnie wzrok kieruje się na Repentant Sinners in front of the Virgin and Child (1630) i The Adoration of the Magi (1630). Spośród 30 dzieł Pieter van Lint w naszym katalogu, tych 29 jest najbardziej znanych – każde z nich to unikatowy oryginał, przedstawiony wraz z rokiem powstania, muzeum oraz powodem, dla którego przetrwało próbę czasu.
The Miracle of Saint John of Capestrano is an oil on canvas by the Flemish artist Pieter van Lint. Executed about 1650, the work belongs to the mid-seventeenth-century Baroque tradition. The artist's hand is identified by the inscription P.V.LINT.F. located in the lower right corner of the composition.
The painting titled Repentant Sinners in front of the Virgin and Child was executed by the Flemish artist Pieter van Lint. This work dates to about 1630. It belongs to the period of the artist's career during the 17th century.
In this 1630 oil painting, we find ourselves drawn into a crowded, intimate scene within a rustic stable. The composition is dense, pulling the viewer toward the focal point where the Holy Family resides. On the right, the Virgin Mary, Joseph, and the infant Jesus form a quiet nucleus amidst a swirling retinue of figures. The lighting is deliberate, employing a strong chiaroscuro that pulls the infant Christ and the…
A man emerges from a void of deep, impenetrable darkness, his presence felt through the sudden, sharp clarity of light hitting his features. He sits in a quiet, heavy stillness, his gaze fixed on something just beyond the viewer's shoulder. The light, streaming from the upper left, carves his face out of the gloom, casting the right side of his visage into a profound shadow. Every line etched into his…
The Crucifixion of Christ is an oil painting by the Flemish artist Pieter van Lint. Born in 1609 in Antwerp, Belgium, Van Lint developed his technical skills within the artistic traditions of the 17th century. This specific work was created about 1649, during a period when the artist was active in the artistic landscape of Antwerp.
In this work, titled Entry of Christ into Jerusalem, Pieter van Lint captures a significant moment from the biblical narrative. Painted about 1649, the scene focuses on the arrival of Christ in the city. He is positioned atop a donkey, moving through a dense and active crowd that gathers to witness the event. The atmosphere is one of intense celebration and reverence, as onlookers react to his presence with various…
In the lush, wooded setting of this oil painting, the deities Bacchus, Ceres, Proserpina and Pluto gather amidst a dense thicket of greenery. The scene captures a moment of divine interaction, where the figures move through a landscape of deep shadows and dappled light. Bacchus, draped in a red cloak, holds a golden chalice aloft, while Proserpina reaches toward the vessel. Nearby, Ceres reacts to the unfolding drama, her pink…
A dense cluster of figures occupies the right and center foreground of this oil painting, set against a landscape of distant, hazy mountains and a cloudy sky. The composition is heavy, with a large group of people gathered in a way that creates a sense of monumental scale. To the left, a vertical halberd cuts through the space, while the diagonal arrangement of reclining figures directs the eye across the…
Artemisia with the ashes of king Mausolus is an oil painting by the Flemish artist Pieter van Lint. Born in Antwerp in 1609, Van Lint established himself as a versatile practitioner of the Baroque era, working as a painter, draughtsman, and designer of tapestries. His technical training and subsequent travels allowed him to navigate various stylistic demands throughout the seventeenth century.
In this large-scale Baroque oil painting, Adoration of the Shepherds by Pieter van Lint presents a profound moment of quiet reverence. Created about 1650, the work captures the biblical scene of the Nativity through a crowded and dynamic composition. At the heart of the scene lies the infant Jesus in a manger, serving as the focal point for the surrounding figures. Mary and Joseph are positioned closely to the child,…
The Circumcision of Christ1670
12
Portrait of a Man1662 · Szépművészeti Múzeum
13
Christ healing the lame at the pool of Bethesda1640 · Kunsthistorisches Museum
14
Triumph of LoveMuseo del Prado
15
Jephthae's Daughter1640 · Ermitaż
16
A Franciscan SaintKrólewskie Muzeum Sztuk Pięknych Antwerpia
17
Saint Catherine of AlexandriaKrólewskie Muzeum Sztuk Pięknych Antwerpia
18
The Adoration of the ShepherdsStatens Museum for Kunst
19
St Joseph carrying the Child Jesus on the left arm
20
Mary magdalene.
21
Silvio and DorindaSzépművészeti Múzeum
22
Portrait of a ChildKrólewskie Muzeum Sztuk Pięknych Antwerpia
23
St. jerome
24
Saint christopherKrólewskie Muzeum Sztuk Pięknych Antwerpia
25
The young man entering the Gate of Virtue (Porta Virtutis).
26
Our Lady with Child and penitents
27
The holy familyNoordbrabants Museum
28
Christ and fhe Adulterous Woman
29
Self portraitKrólewskie Muzea Sztuk Pięknych w Belgii
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 Pieter van Lint | Obrazy z tej listy |
|---|---|---|---|
 Królewskie Muzeum Sztuk Pięknych Antwerpia |
Antwerpia | 6 | The Miracle of Saint John of Capestrano, At the Watering Hole, A Franciscan Saint |
 Ermitaż |
Sankt Petersburg | 2 | Repentant Sinners in front of the Virgin and Child, Jephthae's Daughter |
 Bawarskie Państwowe Zbiory Malarstwa |
Monachium | 2 | Crucifixion of Christ, Entry of Christ into Jerusalem |
 Szépművészeti Múzeum |
Budapeszt | 2 | Portrait of a Man, Silvio and Dorinda |
 Muzeum Sztuk Pięknych w Sewilli |
Sewilla | 1 | Adoration of the Shepherds |
 Kunsthistorisches Museum |
Wiedeń | 1 | Christ healing the lame at the pool of Bethesda |
 Museo del Prado |
Madryt | 1 | Triumph of Love |
 Statens Museum for Kunst |
Kopenhaga | 1 | The Adoration of the Shepherds |
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The painting titled Repentant Sinners in front of the Virgin and Child was executed by the Flemish artist Pieter van Lint. This work dates to about 1630. It belongs to the period of the artist's career during the 17th century.
A man emerges from a void of deep, impenetrable darkness, his presence felt through the sudden, sharp clarity of light hitting his features. He sits in a quiet, heavy stillness, his gaze fixed on something just beyond the viewer's shoulder. The light, streaming from the upper left, carves his face out of the gloom, casting the right side of his visage into a profound shadow. Every line etched into his…
The Miracle of Saint John of Capestrano is an oil on canvas by the Flemish artist Pieter van Lint. Executed about 1650, the work belongs to the mid-seventeenth-century Baroque tradition. The artist's hand is identified by the inscription P.V.LINT.F. located in the lower right corner of the composition.
Portrait of a Man is a work by the Flemish artist Pieter van Lint. Born in Antwerp, the painter was a versatile hand, working as a draughtsman and designer alongside his practice as a painter. His brush captured the quiet weight of a single subject, rendered with the precision of a man accustomed to the fine details of his craft.
In this work, titled The Circumcision of Christ, we encounter a solemn religious scene depicting the ritual circumcision of the infant Jesus. The artist, Pieter van Lint, captures this biblical moment with a sense of quiet gravity. This particular composition focuses on the sacred rite, centering the viewer's attention on the infant and the figures gathered to witness the ceremony.
The Miracle of Saint John of Capestrano (1650), Królewskie Muzeum Sztuk Pięknych Antwerpia, Antwerpia. Następne są Repentant Sinners in front of the Virgin and Child (1630) oraz The Adoration of the Magi (1630).
41 lat: The Miracle of Saint John of Capestrano pochodzi z 1650, a Pieter van Lint urodził(a) się w 1609.
The Miracle of Saint John of Capestrano, Repentant Sinners in front of the Virgin and Child, The Adoration of the Magi, Portrait of an unknown man, Crucifixion of Christ, Entry of Christ into Jerusalem, Bacchus, Ceres, Proserpina and Pluto, At the Watering Hole, Artemisia with the ashes of king Mausolus i Adoration of the Shepherds. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 30 dzieł artysty Pieter van Lint, datowanych od 1630 do 1670.
W większości znajdują się w Królewskie Muzeum Sztuk Pięknych Antwerpia (Antwerpia), Ermitaż (Sankt Petersburg) i Bawarskie Państwowe Zbiory Malarstwa (Monachium). Powyższa tabela muzeów zawiera ich pełną listę.
W 1640s: 5 z 29 dzieł na tej stronie powstało w tym czasie, w tym Portrait of an unknown man.
Na tej stronie najwcześniejszy to Repentant Sinners in front of the Virgin and Child (1630), a najpóźniejszy The Circumcision of Christ (1670).
People (7), Woman (7) i Man (7), w ramach 29 dzieł na tej stronie.
Oil On Canvas, dla 7 z 29 dzieł na tej stronie.
Baroque, sądząc po oryginałach na tej stronie.
The Miracle of Saint John of Capestrano, At the Watering Hole i A Franciscan Saint: Królewskie Muzeum Sztuk Pięknych Antwerpia, Antwerpia posiada 6 dzieł widocznych na tej stronie.
Pieter van Lint (1609-1690), a name perhaps less familiar than his contemporaries Rubens or Van Dyck, nevertheless stands as a significant figure in the vibrant artistic landscape of 17th-century Antwerp. Born into a family deeply rooted in the art world – his father, Hendrik Frans van Lint, was a celebrated vedute painter in Rome – Pieter inherited not only a legacy but also a profound understanding of artistic technique and a restless spirit for exploration. His career spanned decades, encompassing diverse styles and commissions, reflecting a remarkable adaptability and a constant engagement with the prevailing trends of his time.
Van Lint’s early training under Artus Wolffort in Antwerp laid the foundation for his skill in historical painting and portraiture. Crucially, however, his formative years were spent immersed in the artistic traditions of the Flemish Baroque, particularly through frequent visits to the city's churches. These pilgrimages weren’t merely acts of devotion; they served as invaluable apprenticeships, allowing him to meticulously copy the works of masters like Peter Paul Rubens, Marten de Vos, and the Francken brothers – absorbing their compositional strategies, color palettes, and masterful rendering of texture. This deliberate study of his predecessors is evident in many of his early works, which demonstrate a clear debt to Wolffort’s academic style, itself influenced by Otto van Veen's classical approach.
In 1633, Van Lint achieved the coveted status of master in the Guild of Saint Luke, marking his transition into independent practice. Shortly thereafter, he embarked on a transformative journey to Rome – a period that fundamentally shaped his artistic development. Unlike many Flemish artists who simply replicated Italian styles, Van Lint embraced the Roman environment with an open mind, actively seeking out and studying the legacy of antiquity. He meticulously sketched ancient sculptures and architectural ruins, absorbing the principles of classical form and composition. This engagement with the antique is powerfully evident in his later works, particularly those produced during his time in Rome (1633-1640), where he developed a distinct style characterized by clear outlines, balanced compositions, and an interest in idealized beauty.
His work for Cardinal Domenico Ginnasi, Bishop of Ostia, exemplifies this shift. He frescoed the Cybo family chapel in the Santa Maria del Popolo with the legend of the True Cross – a monumental undertaking that showcased his burgeoning skills in large-scale painting and his growing command of classical motifs. This period also witnessed him experimenting with the *bamboccianti* genre, producing small, lively scenes depicting everyday life, reflecting a desire to capture human emotion and interaction.
Van Lint’s career was marked by a remarkable versatility, encompassing religious paintings, historical narratives, portraits, and even tapestry designs. He skillfully navigated the demands of various patrons, from wealthy families like the Cibos to the Antwerp art trade network. A significant portion of his output consisted of meticulously executed copies of Peter Paul Rubens' oil sketches – a lucrative business that allowed him to refine his technique and gain further insight into the master’s methods. These copies, often produced on copper, were highly prized in Spain and the Spanish colonies for their durability and lustrous finish.
Beyond these commissioned works, Van Lint created numerous devotional paintings, frequently depicting scenes from the life of Mary Magdalene – a subject that resonated deeply with his artistic sensibilities. His ‘Marriage of the Virgin’ (1640), painted in Antwerp Cathedral, is a prime example of this style, showcasing his ability to imbue religious subjects with a sense of drama and emotional intensity. He also designed tapestries for prominent weavers, demonstrating his broader creative talents.
Van Lint’s influence extended beyond his own creations. He mentored several promising artists, including Caerel de las Cuevas, Jan-Baptista Ferrari, and Godfried Maes, ensuring the continuation of his artistic lineage. His son, Hendrik Frans van Lint, followed in his father's footsteps, establishing himself as a celebrated landscape painter in Rome – further demonstrating the family’s commitment to artistic excellence.
While Pieter van Lint may not be as widely recognized as some of his contemporaries, his work represents a crucial link between the Flemish Baroque and the burgeoning classical influences of the 17th century. His ability to synthesize diverse styles—from the academic traditions of Wolffort to the dynamism of the *bamboccianti* and the ideals of antiquity—solidifies his position as a significant and enduring figure in the history of Antwerp art.
