Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 21 obras de Isaack Luttichuys em nosso catálogo
Em resumo
De todas as obras originais deixadas por Isaack Luttichuys, a mais famosa é Portrait of a Young Woman Standing at a Parapet (1654), da coleção do Nationalmuseum, em Estocolmo. Logo atrás vêm Portrait of a Young Man with Gloves (1661) e Portrait of a Young Man Standing in a Landscape (1654). Nosso catálogo contém 21 obras de Isaack Luttichuys; a galeria preservou as 19 que o mundo mais admira, cada uma exibida com sua data, seu museu e sua história.
A young woman stands against the quiet weight of a stone parapet. She is positioned slightly off-center, a vertical silhouette carved from deep blacks and muted greys. Her attire, heavy and structured, absorbs the light, leaving only the crisp white of her collar and cuffs to catch the eye. There is a stillness in her posture, a dignified composure that anchors the composition. Behind her, the world softens into an…
In this 1661 oil portrait, we encounter a young man captured in a moment of quiet poise. He is presented in a three-quarter view, his gaze meeting ours with a calm, steady expression that suggests a certain youthful nobility. The composition is balanced, drawing the eye through the soft, wavy lines of his hair toward the structured elegance of his attire. There is a palpable sense of stillness here, the…
There is a quietude in this 1654 portrait that commands immediate attention. We find ourselves facing a young man who possesses a certain aristocratic poise, standing with a calm confidence against a naturalistic backdrop. He is positioned slightly off-center, a choice that lends a sense of organic movement to the composition. His attire, rendered in deep blacks, creates a sharp, striking contrast against the crisp white of his collar and…
Portrait of Johanna de Lange (1635-1673)1655 · Museum Rotterdam
12
Portrait of a man, probably Pieter Adriaensz. de Lange (....-....)1655 · Museum Rotterdam
13
Portrait of a woman, probably Elisabeth van Dobbe (....-1667)1655 · Museum Rotterdam
14
Portrait of Isaac Sweers I (1622-1673)1654 · Het Scheepvaartmuseum
15
Portrait of an unknown young man, possibly a physician1657
16
Portrait of Constantia Bloemaert (1626-1694)1664 · Het Scheepvaartmuseum
17
Still Life with Bread and Wine Glass1650 · Hamburger Kunsthalle
18
Portrait of a Gentleman
19
Portrait of a Young Lady, Isaack Luttichuys, 16561656 · Rijksmuseum
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 Isaack Luttichuys | Pinturas desta lista |
|---|---|---|---|
 Museum Rotterdam |
Rotterdam | 4 | Portrait of Abraham de Riemer (1628-1683), Portrait of Johanna de Lange (1635-1673), Portrait of a man, probably Pieter Adriaensz. de Lange (....-....) |
 Nationalmuseum |
Estocolmo | 3 | Portrait of a Young Woman Standing at a Parapet, Portrait of a Young Man with Gloves, Portrait of a Young Man Standing in a Landscape |
 Het Scheepvaartmuseum |
Amsterdã | 2 | Portrait of Isaac Sweers I (1622-1673), Portrait of Constantia Bloemaert (1626-1694) |
 Gemäldegalerie |
Berlim | 1 | A shipowner and his wife |
 Polesden Lacey |
1 | Unknown Woman | |
 Museu Nacional de Varsóvia |
Varsóvia | 1 | Portrait of a woman with gloves. |
 Museum of Fine Arts |
Houston | 1 | Martijn Gaertz |
 Hamburger Kunsthalle |
Hamburgo | 1 | Still Life with Bread and Wine Glass |
Escolha uma década para ver a obra original que a define.
A young woman stands against the quiet weight of a stone parapet. She is positioned slightly off-center, a vertical silhouette carved from deep blacks and muted greys. Her attire, heavy and structured, absorbs the light, leaving only the crisp white of her collar and cuffs to catch the eye. There is a stillness in her posture, a dignified composure that anchors the composition. Behind her, the world softens into an…
In this 1661 oil portrait, we encounter a young man captured in a moment of quiet poise. He is presented in a three-quarter view, his gaze meeting ours with a calm, steady expression that suggests a certain youthful nobility. The composition is balanced, drawing the eye through the soft, wavy lines of his hair toward the structured elegance of his attire. There is a palpable sense of stillness here, the…
Portrait of a Young Woman Standing at a Parapet (1654), Nationalmuseum, Estocolmo. Portrait of a Young Man with Gloves (1661) e Portrait of a Young Man Standing in a Landscape (1654) vêm a seguir.
38 anos: Portrait of a Young Woman Standing at a Parapet data de 1654, e Isaack Luttichuys nasceu em 1616.
Portrait of a Young Woman Standing at a Parapet, Portrait of a Young Man with Gloves, Portrait of a Young Man Standing in a Landscape, A shipowner and his wife, Unknown Woman, Portrait of a woman with gloves., Portrait of Jan Hendrik Lestevenon, husband of Esther Bary (1630-1696), ca. 1652, Portrait of Esther Bary (1630-1696), ca. 1652, bride of Jan Hendrik Lestevenon, Martijn Gaertz e Portrait of Abraham de Riemer (1628-1683). O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 21 obras de Isaack Luttichuys, datadas de 1640 a 1664.
Principalmente em Museum Rotterdam (Rotterdam), Nationalmuseum (Estocolmo) e Het Scheepvaartmuseum (Amsterdã). A tabela de museus acima lista todos eles.
Em 1650s: 15 das 19 obras nesta página foram feitas então, sendo Portrait of a Young Woman Standing at a Parapet delas.
Nesta página, a mais antiga é A shipowner and his wife (1640) e a mais recente é Portrait of Constantia Bloemaert (1626-1694) (1664).
White collar (3), Tree (2) e Landscape (2), entre as 19 obras nesta página.
Oil, para 2 das 19 obras nesta página.
Baroque, a julgar pelos originais nesta página.
Portrait of Abraham de Riemer (1628-1683), Portrait of Johanna de Lange (1635-1673) e Portrait of a man, probably Pieter Adriaensz. de Lange (....-....): o Museum Rotterdam, Rotterdam detém 4 das obras desta página.
Born in London in 1616 to Dutch parents, the artist known as Isaack Littlehouse—or more formally, Isaack Luttichuys—occupied a unique cultural space between England and the Netherlands. His very name serves as a linguistic bridge, being the literal English translation of his family surname. While his early years were spent in England, he eventually migrated to Amsterdam alongside his older brother, Simon, a move that would define his artistic trajectory within the vibrant atmosphere of the Dutch Golden Age.
This transition to the Netherlands placed him at the heart of one of the most prolific eras in art history. In Amsterdam, Isaack established himself as a painter of significant repute, navigating the social and commercial complexities of a city thriving on maritime trade and merchant wealth. His presence in the Dutch Republic allowed him to cultivate a practice that resonated deeply with the local elite, securing his place among the prestigious circles of the Amsterdam merchant class.
Isaack Littlehouse distinguished himself through a remarkable sensitivity to the human spirit. As a portrait painter, he possessed a prodigious skill for capturing the individuality of his sitters, moving beyond mere physical likeness to convey subtle cues of movement and character. His work is characterized by a balanced composition and an exquisite attention to detail, particularly in the rendering of fine textures such as luxurious fabrics, intricate lace, and shimmering jewellery.
What truly set his technique apart from many of his contemporaries was his use of color. While the works of masters like Rembrandt often leaned toward a more somber or dramatic tonal range, Littlehouse employed a fresh and bright palette. This luminous approach, combined with a skillful handling of paint, lent an air of elegance and vitality to his subjects. His ability to breathe life into a canvas through light and clarity made his portraits not only records of status but lively, breathing windows into the seventeenth century.
Beyond his individual achievements, Littlehouse’s career was intertwined with the broader artistic ecosystem of his time. He was part of a family of talent, working alongside his brother Simon, who focused on the intricate world of still-life painting. This familial connection to the arts reinforced the rich tradition of specialized painting prevalent in the Dutch Golden Age. His own technical proficiency and stylistic choices even left an impression on subsequent generations, notably influencing the painter Pieter Nason.
Though his life concluded in Amsterdam in 1673, the historical significance of his work remains anchored in its ability to capture the elegance of a bygone era. Through his portraits, we gain insight into the fashion, the social standing, and the quiet dignity of the people who shaped the Dutch Golden Age. His legacy survives in the meticulous details of his brushwork and the enduring brightness of his vision, ensuring that the spirit of his sitters continues to resonate with modern viewers.
