Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 33 obras de Johann Liss em nosso catálogo
Em resumo
Nymph and Shepherd (1625) é a pintura de Johann Liss que mais atrai olhares; a obra original pertence ao Metropolitan Museum of Art, Nova York. Depois disso, o olhar recai sobre Temptation of Saint Anthony (1614) e The Apostle Paul (1614). Entre as 33 obras de Johann Liss em nosso catálogo, estas 31 são as mais famosas, cada uma uma original única apresentada com o seu ano, o seu museu e a razão pela qual perdura.
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
The Apostle Paul emerges from the shadows of history in this striking portrait by Johann Liss. Created about 1614, the work captures a moment of profound spiritual intensity. The subject is an elderly man, his features weathered by time and his spirit ignited by divine inspiration. He is identified as the Apostle Paul, a figure of immense weight in religious tradition, appearing here with a sense of urgent, living presence.
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A pale, luminous figure lies amidst the dark textures of a cavernous landscape. This reclining nude female rests upon a bed of grass and white drapery, her body catching a soft, directional light that pulls her from the surrounding gloom. She faces away, her posture relaxed and heavy with sleep. Around her, the world is composed of craggy, dark rocky masses and deep, earthy tones of ochre and brown. The…
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
A youthful figure emerges from a heavy, dark void. This is Cupid, the god of desire, caught in a moment of quiet tension. His skin possesses a luminous, fleshy quality that seems to hold its own light against the surrounding gloom. He holds a single arrow diagonally across his chest, a sharp instrument of fate held with a soft, unstudied grace. The composition pulls the viewer into an intimate space,…
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Temptation of Saint Anthony1660 · Bavarian State Painting Collections
12
The Ecstasy of St Paul1628 · Staatliche Museen zu Berlin
13
The Prodigal Son1625 · Academia de Belas Artes de Viena
14
Untitled (D2X6GG)1626 · Metropolitan Museum of Art
15
A Bacchanalian Feast1617 · Museu Fitzwilliam
16
Judith in the Tent of Holofernes1622 · National Gallery
17
The Fall of Phaeton1624 · National Gallery
18
Adam and Eve Mourning for Abel1624 · Gallerie dell'Accademia di Venezia
19
The Vision of St Jerome1627 · San Nicola da Tolentino
20
Franciscan MonkStatens Museum For Kunst
21
A lute player
22
MOISE SAUVE DES EAUXPalais des Beaux-Arts de Lille
23
E Dirck van der Blind Mans Buff
24
Abel mourned by his parents
25
The Satyr and the Peasant1626 · National Gallery of Art
26
Venus and Adonis1625 · Staatliche Kunsthalle Karlsruhe
27
A Morte de Cleópatra1622 · Alte Pinakothek
28
O Sacrifício de Isaac1624 · Gallerie dell'Accademia di Venezia
29
Judith and Holophernes1628 · Kunsthistorisches Museum
30
Apollo and Marsyas1627 · Gallerie dell'Accademia di Venezia
31
Venus in front of the Mirror1625 · Galleria degli Uffizi
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 8 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Johann Liss | Pinturas desta lista |
|---|---|---|---|
 Bavarian State Painting Collections |
Munique | 4 | Temptation of Saint Anthony, The Apostle Paul, Temptation of Saint Anthony |
 Gallerie dell'Accademia di Venezia |
Veneza | 3 | Adam and Eve Mourning for Abel, O Sacrifício de Isaac, Apollo and Marsyas |
 Metropolitan Museum of Art |
Nova York | 2 | Nymph and Shepherd, Untitled (D2X6GG) |
 Statens Museum For Kunst |
Copenhague | 2 | Sleeping Nymph, Franciscan Monk |
 National Gallery |
Londres | 2 | Judith in the Tent of Holofernes, The Fall of Phaeton |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
Kassel | 1 | A Game of Morra |
 Szépművészeti Múzeum |
Budapeste | 1 | Village Wedding Procession |
 Germanisches Nationalmuseum |
Nuremberg | 1 | The prodigal son at the prostitutes |
15 anos separam as primeiras e últimas obras originais datadas de Johann Liss exibidas aqui, 1614 e 1628: cada ano tem o seu lugar abaixo.
Escolha um ano para ver as obras originais.
The artwork is titled Temptation of Saint Anthony, a work executed by the German Baroque painter Johann Liss. This specific piece is also identified by the alternative title Anthony and Lust. The painting was created between 1624 and 1625.
Mais de 1614
In "Curse of Cain" by Johann Liss, a diagonal tension pulls the eye upward. The composition begins with a muscular figure in the foreground, anchored in shadow. From this heavy base, the gaze climbs through a turbulent sky toward a celestial presence hidden within the clouds. This movement follows a low-angle perspective, forcing the viewer to look up at the unfolding drama of divine judgment and human suffering. The scene…
Johann Liss created Village Wedding Procession, a work dating from about 1616. The oil painting captures a scene of a rural wedding, focusing on the communal activity of a country celebration. The composition centers on a group of figures engaged in the festivities of a village procession.
A large dining table draped in white cloth anchors the scene, a pale island amidst a sea of movement. Figures cluster around this center, their bodies caught in various states of repose and action. Some sit, anchored by the weight of the feast, while others stand, their limbs tracing arcs through the air. The air feels thick with the energy of a communal celebration, a moment of shared indulgence frozen…
The scene unfolds in A Game of Morra, a painting by the German Baroque artist Johann Liss. This genre art piece captures a spirited moment of human interaction, pulling the viewer into a lively social encounter. The figures gather under a rustic pergola, their gestures and expressions suggesting the tension and play of the game itself. It is a moment frozen in time, where the energy of the group seems…
Mais de 1620
In this dramatic oil painting from 1622, we find ourselves drawn into a nocturnal scene of revelry and debauchery. The composition is dense, creating a sense of chaotic movement within a shallow, stage-like space. A group of figures is caught in a moment of intense social interaction, their lives seemingly consumed by the immediate demands of drinking and carnal pleasure. The subject matter draws from the biblical narrative of the…
Mais de 1622
The painting presents a tight, triangular arrangement of figures that creates a sense of intimacy and tension. A seated saint occupies the center of the frame, his form illuminated by a strong directional light source from the upper left. This light falls upon his face and a golden bowl held by an approaching woman, leaving the background in deep shadow. The woman is draped in crimson fabric, which provides a…
Mais de 1624
Deep within a dense, shadowy woodland, a quiet drama unfolds under the weight of heavy leaves and twisting branches. A nymph lies reclined, her pale skin catching a soft, directional light that cuts through the gloom of the forest. She rests in a state of deep repose, unaware of the gaze directed toward her. From behind the rugged bark of a tree, a muscular shepherd leans into the frame. He…
Mais de 1625
In the vast tapestry of the 17th-century Baroque era, where the theatrical shadows of Caravaggio and the luminous interiors of Vermeer often command the spotlight, there exists a more intimate, whispered form of storytelling. Johann Liss’s “The Temptation of Saint Mary Magdalen,” completed around 1626, serves as a profound testament to this subtle mastery. The painting captures a pivotal moment of spiritual and psychological tension, inviting the viewer into a…
Mais de 1626
The air in the room feels heavy with the weight of a sudden, celestial intrusion. St. Jerome sits amidst the quietude of his devotion, an old man whose white beard catches the light, marking him as a soul weathered by years of study and solitude. He is not alone. The stillness is broken by the presence of angels, their forms appearing as if they have just stepped through the veil…
Mais de 1627
To gaze upon The Ecstasy of St Paul is to be enveloped in a moment so transcendent it seems plucked directly from the annals of divine revelation. This painting does not merely depict an event; it captures the very breath of spiritual rapture. At its heart, St. Paul is suspended, his outstretched arms reaching not just toward the heavens, but into a palpable emanation of grace. The composition centers on…
Mais de 1628
Nymph and Shepherd (1625), Metropolitan Museum of Art, Nova York. Temptation of Saint Anthony (1614) e The Apostle Paul (1614) vêm a seguir.
28 anos: Nymph and Shepherd data de 1625, e Johann Liss nasceu em 1597.
Nymph and Shepherd, Temptation of Saint Anthony, The Apostle Paul, Curse of Cain, A Game of Morra, Village Wedding Procession, Sleeping Nymph, The prodigal son at the prostitutes, Cupid (Amor) e Temptation of Saint Anthony. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 33 obras de Johann Liss, datadas de 1614 a 1628.
Principalmente em Bavarian State Painting Collections (Munique), Gallerie dell'Accademia di Venezia (Veneza) e Metropolitan Museum of Art (Nova York). A tabela de museus acima lista todos eles.
Em 1624: 4 das 31 obras nesta página foram feitas então, sendo Temptation of Saint Anthony delas.
Nesta página, a mais antiga é Temptation of Saint Anthony (1614) e a mais recente é The Ecstasy of St Paul (1628).
Man (10), Woman (9) e People (7), entre as 31 obras nesta página.
Oil On Canvas, para 14 das 31 obras nesta página.
Baroque, a julgar pelos originais nesta página.
Temptation of Saint Anthony, The Apostle Paul e Temptation of Saint Anthony: o Bavarian State Painting Collections, Munique detém 4 das obras desta página.
Johann Liss, também conhecido como Jan Lys, destaca-se como uma figura luminosa dentro do movimento Barroco alemão do século XVII, um pintor cuja jornada pela Europa espelhava as correntes vibrantes e mutáveis de sua era. Nascido em Schleswig-Holstein, na Alemanha, especificamente em Oldenburg, a vida inicial de Johann Liss foi moldada pelas rigorosas tradições artísticas de sua terra natal. Seu caminho como artista foi marcado por um movimento constante e uma transformação profunda, à medida que migrava das regiões do norte da Alemanha para os grandes centros artísticos do continente. Através de seus estudos com Hendrick Goltzius em Haarlem e Amsterdã, ele absorveu o domínio técnico da tradição holandesa antes de embarcar em viagens que eventualmente o levariam por Paris até o coração da Itália.
A evolução do estilo de Johann Liss é um estudo cativante de adaptação artística. Seu período inicial, marcado por sua estadia em Roma por volta de 1620–1622, revela um profundo envolvimento com a tensão dramática de Caravaggio. Durante esses anos formativos, suas telas eram definidas pelos contrastes marcantes e poderosos de luz e sombra, uma técnica que imbuía seus temas religiosos e mitológicos com uma presença imediata e visceral. No entanto, conforme migrava em direção a Veneza, sua paleta passou por uma metamorfose magnífica. As profundezas sombrias de seu período romano deram lugar a um tratamento vibrante da superfície pintada, caracterizado por cores brilhantes e uma pincelada solta e enérgica que parecia pulsar com vida.
Johann Liss possuía uma habilidade rara de navegar pelos domínios duplo do sagrado e do profano, tratando narrativas bíblicas e mitos clássicos com igual intensidade emocional. Em suas obras religiosas, como O Sacrifício de Isaac, ele utilizou a estética Barroca para explorar temas profundos de fé, obediência e intervenção divina. Ele frequentemente situava esses momentos teológicos densos contra paisagens vastas e meticulosamente renderizadas, criando uma tensão entre o peso monumental das escrituras e o mundo natural. Suas representações do divino nunca eram meramente estáticas; elas pulsavam com um senso de movimento e profundidade psicológica que capturava o fervor religioso do século XVII.
Inversamente, suas obras mitológicas permitiam uma exploração mais sensual da forma humana e da lenda clássica. Em peças como Vênus e Adônis, Johann Liss abraçou uma estética emergente de beleza e desejo, utilizando óleo sobre cobre para alcançar variações tonais sutis que intensificavam o drama emocional da tragédia ovidiana. Seja capturando o fim trágico de Cleópatra ou o julgamento divino em Apolo e Marsias, seu trabalho buscava consistentemente transcender a simples narrativa. Ele voltava-se para o poder bruto da emoção, utilizando o impasto espesso e composições dinâmicas para garantir que cada encontro mitológico parecesse ao mesmo tempo antigo e urgentemente vivo.
A significância de Johann Liss estende-se muito além de suas telas individuais, pois suas inovações estilísticas ajudaram a pavimentar o caminho para futuras gerações de pintores. Seu estilo veneziano tardio, com sua ênfase na luz, na cor e em uma certa espontaneidade fluida, atuou como um precursor do movimento Rococó. As pinceladas enérgicas encontradas em sua obra podem ser vistas como uma influência precoce sobre os grandes irmãos Guardi, e sua capacidade de integrar influências estrangeiras na tradição veneziana deixou uma marca duradoura na paisagem artística da República.
Seu impacto é sentido de forma mais clara na linhagem dos mestres do século XVIII. As obras de Sebastiano Ricci, Giovanni Battista Tiepolo e Giovanni Piazzetta carregam todos ecos do brilho e do movimento que Johann Liss pioneirou. Embora sua vida tenha sido precocemente interrompida pela peste em Verona, deixando para trás um legado de temas bíblicos piedosos e contos mitológicos sensuais, ele permanece como um elo vital na corrente de excelência do Barroco. Ele foi um pintor que dominou a arte da transformação, transformando as sombras de Roma na luz radiante de Veneza.
