Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 105 obras de Willem Maris em nosso catálogo
Em resumo
Eenden, Willem Maris, c. 1880 - c. 1904 (1904) é a pintura de Willem Maris que mais atrai olhares; a obra original pertence ao Rijksmuseum, Amsterdã. Depois disso, o olhar recai sobre The calves (1863) e Bulls on a Rocky Coast (1864). Entre as 105 obras de Willem Maris em nosso catálogo, estas 100 são as mais famosas, cada uma uma original única apresentada com o seu ano, o seu museu e a razão pela qual perdura.
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The scene unfolds in Bulls on a Rocky Coast, a work painted by Willem Maris around 1864. This landscape captures a rugged moment along a sandy coastline, where the heavy presence of animals meets the vastness of the sky. The composition rests upon the quiet strength of the subjects as they navigate the uneven terrain of the shore.
In "Donkeys on the beach" by Willem Maris, a horizontally oriented landscape unfolds to reveal a quiet moment of rural coastal life. The scene begins in the foreground, where a grassy dune area dominates the view. Here, several donkeys gather, their forms grounding the composition amidst the undulating shapes of the dunes. The arrangement of these animals creates an immediate sense of presence, as if the viewer has just stumbled…
We are looking at Boys herding donkeys, a work by the Dutch painter Willem Maris. This piece dates to 1865, a period when the artist was refining his ability to capture the specific atmosphere of the Low Countries. It is a substantial canvas, measuring 90.3 x 138.0cm.
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The air feels heavy with moisture, a damp stillness that clings to the grass and the heavy coats of the cattle. In this meadow, the light does not simply shine; it filters through a thick, overcast sky, casting a soft, silvery glow over the landscape. A single white cow stands in profile, its form partially swallowed by the deep shadows of dense foliage and dark trees that crowd the right…
The scene opens on a damp polder, where the earth meets the sky in a soft, silvered blur. Several cows are scattered across the meadow, their heavy bodies anchored in the lush, green grass. Some graze in the foreground, their forms solid and tactile, while others recede into the distance, becoming mere shapes against the horizon. A single horse stands toward the right, a quiet addition to the pastoral rhythm.…
The scene unfolds in Ducks Alighting On A Pool, a work that captures a fleeting moment of movement and stillness. Here, the artist Willem Maris invites us to witness the quiet rhythm of nature as waterfowl descend toward the water's surface. The composition centers on these birds, their wings perhaps still catching the light as they settle into the tranquil environment of the woods.
The ferry1859 · Dordrechts Museum
12
Study after nature1863 · The Mesdag Collection
13
White cow at the ditch1877 · Amsterdam Museum
14
Ducks at the edge of the ditch1877 · Rijksmuseum
15
Landscape with Cows1884 · Rijksmuseum Twenthe
16
Meadow Landscape1884 · Groninger Museum
17
Farmer's Wife with Cattle near a Small River (Summer Day)1880 · Museum Boijmans Van Beuningen
18
Under the willows1884 · Amsterdam Museum
19
Ducks bear the water1884 · Amsterdam Museum
20
Cows at evening1884 · Kunstmuseum Den Haag
21
Duck heaven1885 · Kunstmuseum Den Haag
22
Cattle at a watering place1885 · Museum Boijmans Van Beuningen
23
Rowboat in a ditch.1882 · Rijksmuseum
24
Early morning1883 · Museum Boijmans Van Beuningen
25
Cow1887
26
Cows at a Pond1891 · Dordrechts Museum
27
Ducks in the Grass near a Ditch1890 · Museum Boijmans Van Beuningen
28
Summer1897 · Dordrechts Museum
29
Meadow with cows1895 · Rijksmuseum
30
Cow at water's edge1895 · Rijksmuseum
31
Landscape with ditch and cattle1900 · Centraal Museum
32
Cows in a Soggy Meadow, Willem Maris, 1860 - 19001900 · Rijksmuseum
33
Koeien, Willem Maris, 1880 - 19041904 · Rijksmuseum
34
Landscape With Cattle
35
A Summer Day At A Canal Near The Hague
36
Eendjes, Willem Maris, c. 1880 - c. 19071907 · Rijksmuseum
37
Witte eend met kiekens, Willem Maris, 1880 - 19101910 · Rijksmuseum
38
White Cow, Willem Maris, c. 1880 - c. 19101910 · Rijksmuseum
39
A Farmer's Wife With Grazing Cows
40
A Family Of Ducks
41
Winterlandschap, Willem Maris, c. 18751875 · Rijksmuseum
42
Milking TimeSaint Louis Art Museum
43
Cows at a Watering PlaceMuseum of Fine Arts Ghent (MSK)
44
River Landscape with CattleMuseu de Belas Artes de Boston
45
Cattle By The River
46
Cows Watering In A Polder Landscape
47
Dutch Landscape
48
Cows In A Dutch Polder Landscape
49
A Dutch River Scene With Sailing Boats
50
Calves at a PondKunstmuseum Den Haag
51
Cows In A Pasture With Two Windmills
52
A View Of A Dutch Canal
53
Cows Near The Waterfront
54
Cattle Grazing
55
The View
56
Cows By The Waters' Edge
57
A Watering Cow
58
Ducks, Spring
59
Cows At Pasture
60
Cows In The Summer Sun
61
Watering Cows In A Polder Landscape
62
A Dutch Landscape
63
Cattle Grazing at the Water's EdgeMinneapolis Institute of Art
64
Cows In A Polder Landscape
65
Cows Grazing On The Waterfront
66
A Summer Landscape With Cattle And Windmills
67
Watering The Cows
68
Ducks And Their Ducklings
69
Ducks And Ducklings On A Riverbank
70
Copy After P. Potter
71
Portrait Of A Woman
72
Cows In Dutch Polder Landscape
73
Company Of Fishermen
74
A Cow At Pasture
75
Ducks In A Meadow
76
Watering Cows
77
Tending The Cows
78
A Cow Near The Waterfront
79
Ducks By A Ditch
80
The Water's Edge
81
Landscape With Cattle
82
Cows In A Wooded Landscape
83
Cattle
84
Ducks
85
Chicken In A Stable
86
Ducks In A Pond
87
A Herdboy With Donkeys On Scheveningen Beach
88
Young Girl In A Landscape
89
Ducks On The Waterfront
90
Cattle In A Sunlit Glade
91
A Polder Landscape
92
Landscape With Cattle And WindmillsTe Whare O Rehua Sarjeant Gallery
93
Boy With A Pike
94
Milking Time
95
Portrait Of A Girl
96
Ducks In The Grass
97
Dead Bird
98
A Calf Drinking From A Pond
99
A Family Of Ducks By The Water
100
A Silver StreamScottish National Gallery
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 Willem Maris | Pinturas desta lista |
|---|---|---|---|
 Rijksmuseum |
Amsterdã | 14 | Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows |
 Kunstmuseum Den Haag |
Haia | 5 | Donkeys on the beach, Boys herding donkeys, Cows at evening |
 Amsterdam Museum |
Amsterdão | 4 | Feeding of the Calves, White cow at the ditch, Under the willows |
 Museum Boijmans Van Beuningen |
Roterdã | 4 | Farmer's Wife with Cattle near a Small River (Summer Day), Cattle at a watering place, Early morning |
 Dordrechts Museum |
Dordrecht | 3 | The ferry, Cows at a Pond, Summer |
 The Mesdag Collection |
Haia | 2 | The calves, Study after nature |
 Groninger Museum |
Groningen | 2 | Bulls on a Rocky Coast, Meadow Landscape |
 National Gallery |
Londres | 1 | Ducks Alighting On A Pool |
Escolha uma década para ver a obra original que a define.
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
A white duck with seven chicks by the ditch side.
Eenden, Willem Maris, c. 1880 - c. 1904 (1904), Rijksmuseum, Amsterdã. The calves (1863) e Bulls on a Rocky Coast (1864) vêm a seguir.
60 anos: Eenden, Willem Maris, c. 1880 - c. 1904 data de 1904, e Willem Maris nasceu em 1844.
Eenden, Willem Maris, c. 1880 - c. 1904, The calves, Bulls on a Rocky Coast, Donkeys on the beach, Boys herding donkeys, Feeding of the Calves, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows, Cows On The Water's Edge In A Polderscape e Ducks Alighting On A Pool. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 105 obras de Willem Maris, datadas de 1859 a 1910.
Principalmente em Rijksmuseum (Amsterdã), Kunstmuseum Den Haag (Haia) e Amsterdam Museum (Amsterdão). A tabela de museus acima lista todos eles.
Em 1880s: 12 das 100 obras nesta página foram feitas então, sendo Feeding of the Calves delas.
Nesta página, a mais antiga é The ferry (1859) e a mais recente é Witte eend met kiekens, Willem Maris, 1880 - 1910 (1910).
Animals (24), Landscape (15) e Dutch countryside (9), entre as 100 obras nesta página.
Oil On Canvas, para 8 das 100 obras nesta página.
Hague school e Impressionism, a julgar pelos originais nesta página.
Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895 e Meadow with Cows: o Rijksmuseum, Amsterdã detém 13 das obras desta página.
Adentrar uma paisagem pintada por Willem Maris é entrar em um mundo onde o próprio ar possui peso, umidade e um profundo sentido de quietude. Nascido em Haia, em 18 de fevereiro de 1844, Maris viria a se tornar um pilar da Escola de Haia, um movimento que defendia paisagens luminosas e as dotava de uma sensibilidade inigualável às condições atmosféricas. Enquanto muitos de seus contemporâneos buscavam documentar os detalhes rígidos do campo holandês, Maris perseguia algo muito mais efêmero. Ele proclamou famosamente seu lema artístico: “Não pinto vacas, mas sim efeitos de luz.” Esta filosofia singular transformou os temas humildes de suas telas — o gado pastando, prados úmidos e salgueiros chorões — em receptáculos para uma radiância divina e cintilante.
A conexão de Maris com o mundo natural não era meramente acadêmica; era profundamente pessoal e enraizada em suas primeiras memórias. Muito antes de dominar o pincel, ele passava incontáveis horas observando os ritmos do prado, sentado entre o gado tanto antes quanto depois de suas aulas escolares. Essa familiaridade íntima com o comportamento e a anatomia animal proporcionou-lhe uma base instintiva que mais tarde definiria sua obra. Sua jornada artística foi ainda mais enriquecidente por uma tradição familiar de criatividade, já que seus irmãos, Jacob e Matthaijs Maris, também eram pintores talentosos. Essa paixão compartilhada pela paisagem fomentou um ambiente de exploração e orientação mútua que ajudou a moldar a própria essência da estética da Escola de Haia.
A evolução da técnica de Maris reflete uma profunda maturação da visão, movendo-se do literal para o lírico. Nos estágios iniciais de sua carreira, seu trabalho era caracterizado por um foco disciplinado em reproduções precisas de seu entorno. Durante este período, ele aplicou seu treinamento acadêmico na Academia de Arte de Haia para estudar a anatomia animal com detalhes minuciosos, garantindo que cada curva e músculo de seus temas fosse representado com precisão. Esta era de realismo meticuloso foi significativamente influenciada por sua mentoria sob o pintor de gado Pieter Stortenbeker, que proporcionou a Maris encomendas essenciais que lhe permitiram praticar seu ofício ao ar livre, refinando sua habilidade de capturar a realidade bruta dos polders holandeses.
À medida que seu domínio sobre o meio crescia, Maris começou a transcender a mera representação. Ele afastou-se das tradições rígidas de seus predecessores, abraçando paletas de cores mais ousadas e empregando gradações sutis para transmitir as nuances mutáveis da luz — uma transição que o alinhou ao espírito emergente do Impressionismo. Por volta de 1880, seu estilo passou por uma transformação final e arrebatadora. Sua pincelada tornou-se mais solta e expressiva, utilizando o impasto para criar telas repletas de textura. Nestas obras tardias, a fronteira entre a terra e o céu frequentemente se dissolve em uma névoente prateada e contínua, onde a luz não apenas incide sobre a paisagem, mas parece emanar de dentro dela.
A importância histórica de Willem Maris reside em sua capacidade de encontrar o sublime no comum. Ele foi um mestre do que é frequentemente descrito como "luz cinzenta" — aquele espectro monocromático e matizado de prata, pérola e ardósia que define a atmosfera holandesa. Através de seu trabalho, as extensões úmidas e enevoadas dos Países Baixos foram elevadas a um nível de grandeza poética. Suas pinturas não apenas documentam cenários; elas traduzem o próprio sopro das Terras Baixas para a tela, capturando a maneira como a luz filtra através da densa cobertura de nuvens do Atlântico para iluminar um prado molhado ou um canal tranquilo.
Em última análise, a contribuição de Maris para a história da arte é medida por sua capacidade de evocar emoção através da atmosfera. Seu legado permanece gravado na maneira como percebemos a beleza do céu nublado e a dignidade tranquila da vida rural. Através de seus olhos, vemos que:
