Dead Wildfowl
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
Em resumo
Dead Wildfowl (1674) é a pintura de Jacob Biltius que mais atrai olhares; a obra original pertence ao Statens Museum For Kunst, Copenhague. Depois disso, o olhar recai sobre Dead Birds (1670) e Snip, hanging (1663). Entre as 10 obras de Jacob Biltius em nosso catálogo, estas 10 são as mais famosas, cada uma uma original única apresentada com o seu ano, o seu museu e a razão pela qual perdura.
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
Os 3 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Jacob Biltius | Pinturas desta lista |
|---|---|---|---|
| Copenhague | 5 | Dead Wildfowl, Dead Birds, Wildfowl on a Wooden Table | |
| Leeuwarden | 2 | Snip, hanging, Dead Partridge, Hanging | |
| 1 | Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall |
Uma longa carreira de 17 anos, de 1663 a 1679: os originais mais famosos de Jacob Biltius, apresentados ano a ano.
Escolha um ano para ver as obras originais.
Mais de 1666
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
Mais de 1670
Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.
Dead Wildfowl (1674), Statens Museum For Kunst, Copenhague. Dead Birds (1670) e Snip, hanging (1663) vêm a seguir.
41 anos: Dead Wildfowl data de 1674, e Jacob Biltius nasceu em 1633.
Dead Wildfowl, Dead Birds, Snip, hanging, Dead Partridge, Hanging, Wildfowl on a Wooden Table, A Dead Hare, A hunting still life with a partridge, a grouse, a hare and hunting paraphernalia, A still life of game and hunting acoutrements, on a stone ledge, Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall e Dead Wildfowl and a Huntsman's Net. Trompe l'oeil. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 10 obras de Jacob Biltius, datadas de 1663 a 1679.
Principalmente em Statens Museum For Kunst (Copenhague), Fries Museum (Leeuwarden) e Kunsthandel P. de Boer. A tabela de museus acima lista todos eles.
Em 1663: 2 das 10 obras nesta página foram feitas então, sendo Snip, hanging delas.
Nesta página, a mais antiga é Snip, hanging (1663) e a mais recente é Dead Wildfowl and a Huntsman's Net. Trompe l'oeil (1679).
Feathers (2) e Dark background (2), entre as 10 obras nesta página.
Oil On Canvas, para 2 das 10 obras nesta página.
Dead Wildfowl, Dead Birds e Wildfowl on a Wooden Table: o Statens Museum For Kunst, Copenhague detém 5 das obras desta página.
Jacob Biltius was a Dutch still life painter born in The Hague. He began his artistic training in The Hague, studying under the French painter Carel Hardy around 1651, and later trained with Pieter de Putter, who was known for his fish still lifes. His career saw him active in various locations, including The Hague, Amsterdam, Maastricht, Antwerp, Leeuwarden, and Bergen op Zoom. In 1660, he was admitted to the Confrerie Pictura.
Biltius married Adriana Proot van der Jeucht in 1653, and they had eight children, including two sons, Cornelis and Bartholomeus, who both became painters. His movements took him from Amsterdam to Maastricht, and eventually to Flanders, where he settled in Antwerp. While living in Antwerp, he and his wife were members of a secret society of local Calvinists known as de Consistorie van de Brabantsche Olijfberg. He was admitted to the Antwerp Guild of St Luke in the 1672–1673 guild year. He eventually moved to Bergen op Zoom, where he died.
The work of Jacob Biltius is characterized by his focus on still life subjects. He was specifically known for his:
Between 1663 and 1677, Biltius created many trompe-l'œil compositions, acting as a pioneer in the creation of the illusion of three-dimensional objects. His works are noted for a very accurate and precise representation of nature. Some of these compositions were of a large size, which contributed to their realism and illusionistic impact.