Stručne povedané
Z všetkých originálov, ktoré Bernard Accama zanechal, je najznámejší Portrait painting of Frans Julius Johan Heringa van Eysinga (1710), ktorý sa nachádza v zbierkach Fries Museum v meste Leeuwarden. Hneď za ním nasledujú Portrait of Campegius Vitringa (Sr) (1722) a Portrait of Unknown Woman (1719). Náš katalóg obsahuje 46 diel od Bernard Accama; galéria si zachovala tých 46, ktoré obdivuje celý svet, pričom každý z nich je prezentovaný spolu s jeho dátumom, múzeou a príbehom.
Top 10 obrazov umelca Bernard Accama: výber galérie
Výber umelcov Bernard Accama pokračuje, od 11 do 46
Múzeá, ktoré uchovávajú originály umelca Bernard Accama
3 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Bernard Accama | Obrazy z tohto zoznamu |
|---|---|---|---|
| Leeuwarden | 37 | Portrait painting of Frans Julius Johan Heringa van Eysinga, Portrait of Campegius Vitringa (Sr), Portrait of Unknown Woman | |
| Arnhem | 6 | Portrait of a man, probably Hans Willem van Aylva (1695-1722), Portrait of a woman, probably Agatha Wilhelmina van Aylva (1690-1763), Portrait of a man, probably Hans Willem van Aylva (1722-1751) | |
| Amsterdam | 1 | Portrait of Judith Willink (1679-1747) |
Bernard Accama dekáda po dekáde: originál, ktorý definuje každú z nich
Diela podľa dekád
Vyberte si dekádu a pozrite si originál, ktorý ju definuje.
Portrait painting of Frans Julius Johan Heringa van Eysinga
Otázky zberateľov o obrazoch od Bernard Accama
Ktorým dielom je Bernard Accama najznámejší/najznámejšia?Odhaľte odpoveď
Portrait painting of Frans Julius Johan Heringa van Eysinga (1710), Fries Museum, Leeuwarden. Nasledujú Portrait of Campegius Vitringa (Sr) (1722) a Portrait of Unknown Woman (1719).
V akom veku bol/a Bernard Accama, keď vzniklo dielo Portrait painting of Frans Julius Johan Heringa van Eysinga?Odhaľte odpoveď
14 rokov: Portrait painting of Frans Julius Johan Heringa van Eysinga vzniklo v roku 1710 a Bernard Accama sa narodil/a v roku 1696.
Ktorých desať najznámejších obrazov má Bernard Accama?Odhaľte odpoveď
Portrait painting of Frans Julius Johan Heringa van Eysinga, Portrait of Campegius Vitringa (Sr), Portrait of Unknown Woman, Portrait of Tedt Sophia van Goslinga, Portrait of Gosewijn Theodoor van Coehoorn (1678-1737), Portrait of a man, probably Hans Willem van Aylva (1695-1722), Portrait of an Unknown Woman, Family Portrait of Court Architect Coulon, Portrait of Campegius Vitringa a Portrait of Martinus van Scheltinga (1666-1742). Vyššie uvedené hodnotenie uvádza rok a múzeu pre každé z nich.
Koľko obrazov zanechal umenec Bernard Accama?Odhaľte odpoveď
Náš katalóg obsahuje 46 diel od umelca Bernard Accama z perioda od 1710 do 1756.
V ktorých múzeách visia majstrovské diela umelca Bernard Accama?Odhaľte odpoveď
Väčšinou v Fries Museum (Leeuwarden), Huis Zypendaal (Arnhem) a Amsterdam Museum (Amsterdam). Tabuľka múzeí vyššie ich všetky uvádza.
V ktorých rokoch vytvoril Bernard Accama svoje najznámejšie diela?Odhaľte odpoveď
V období 1750s: 15 z 46 diel na tejto stránke bolo vytvorených vtedy, pričom Portrait of Ds. Hesseling z nich.
Aké sú prvé a posledné známe originály od Bernard Accama?Odhaľte odpoveď
Na tejto stránke je najstaršie dielo z Portrait painting of Frans Julius Johan Heringa van Eysinga (1710) a najnovšie z Portrait of Johanna Geertruid Juliana van Sytzama (1756).
Aké diela umelca Bernard Accama sa nachádzajú v múzeu Fries Museum?Odhaľte odpoveď
Portrait painting of Frans Julius Johan Heringa van Eysinga, Portrait of Campegius Vitringa (Sr) a Portrait of Unknown Woman: múzeá Fries Museum, Leeuwarden uchovávajú 37 z diel na tejto stránke.
Bernard Accama: život a dielo
The Legacy of Bernard Accama
In the golden twilight of the eighteenth century, the Dutch landscape was defined not only by its sweeping canals and industrious spirit but by a refined class of nobility seeking to immortalize their lineage through the brush. Among the most skilled hands of this era was Bernard Accama, an artist whose life and work became deeply intertwined with the Frisian elite. Born in the quiet province of Friesland around 1697, likely in the village of Burum, Accama emerged from a family of distinction; he was the son of Simon Accama, a local church minister, and Aeltje Boetes Nievelt. This upbringing in a scholarly and religious environment likely provided the foundational discipline required to master the intricate demands of historical and portrait painting.
Accama’s journey as an artist was one of both prestige and profound loss. Settling much of his life in Leeuwarden, he ascended to the heights of professional recognition, earning the trust of the highest echel m of Dutch society. His talent was such that he secured prestigious commissions from William IV, Prince of Orange, a feat that placed him at the very heart of political and social importance. As a portraitist, Accama possessed a unique ability to capture the dignity and character of his subjects, translating the status of the Frisian aristocracy into enduring visual legacies. His technical prowess was not merely a personal achievement but a familial one, as he served as both brother and instructor to the painter Matthijs Accama, fostering a small but significant lineage of artistic skill.
A Vanished Splendor
Despite the brilliance of his career, the historical record of Bernard Accama is marked by a poignant sense of absence. While his reputation as a master of portraiture and historical scenes was well-established during his lifetime, much of his physical oeuvre was tragically lost to the tides of history. The Revolution of 1795 brought about significant upheaval in the Netherlands, and in the chaos of this transformative period, many of Accama’s most significant works vanished. This loss creates a sense of mystery surrounding his complete body of work, leaving art historians to piece together his genius through surviving fragments and historical accounts.
What remains of his legacy allows us to glimpse the elegance of an era long passed. His ability to navigate the complexities of historical painting—a genre requiring deep knowledge of narrative and classical composition—alongside the intimate psychological depth of his portraits, marks him as a versatile master of the Dutch tradition. Though many of his canvases may no longer grace the halls of museums, the shadow of his influence persists in the study of Frisian art history, reminding us of a time when the brush was a powerful tool for defining identity, power, and the enduring human spirit.






