Kratek opis
Med vsemi originali, ki jih je pustil Bernard Accama, je najbolj znan Portrait painting of Frans Julius Johan Heringa van Eysinga (1710), ki se nahaja v kolekciji Fries Museum, Leeuwarden. Takoj za njima sta Portrait of Campegius Vitringa (Sr) (1722) in Portrait of Unknown Woman (1719). Naš katalog vsebuje 46 del umetnika Bernard Accama; galerija je ohranila 46 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
10 najboljših slik umetnika Bernard Accama: izbira galerije
Izbor umetnika Bernard Accama se nadaljuje, od 11 do 46
Muzeji, ki hranijo originala umetnika Bernard Accama
3 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Bernard Accama | Slike iz tega seznama |
|---|---|---|---|
| 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 desetletje za desetletjem: originali, ki definira vsako od njih
Delo po desetletjih
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
Portrait painting of Frans Julius Johan Heringa van Eysinga
Vprašanja zbirateljev o slikah umetnika Bernard Accama
Za katero delo je Bernard Accama najbolj znan/a?Razkriti odgovor
Portrait painting of Frans Julius Johan Heringa van Eysinga (1710), Fries Museum, Leeuwarden. Zatem sledeta Portrait of Campegius Vitringa (Sr) (1722) in Portrait of Unknown Woman (1719).
Koliko je bil Bernard Accama let, ko je nastalo delo Portrait painting of Frans Julius Johan Heringa van Eysinga?Razkriti odgovor
14 let: delo Portrait painting of Frans Julius Johan Heringa van Eysinga iz leta 1710, Bernard Accama pa je bil/a rojen/a leta 1696.
Katera je deset najbolj znanih slik umetnika Bernard Accama?Razkriti odgovor
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 in Portrait of Martinus van Scheltinga (1666-1742). Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Koliko slik je pustil Bernard Accama?Razkriti odgovor
Naš katalog vsebuje 46 del avtorja Bernard Accama, datiranih od 1710 do 1756.
V katerih muzejih so razložena remek dela umetnika Bernard Accama?Razkriti odgovor
Večini v Fries Museum (Leeuwarden), Huis Zypendaal (Arnhem) in Amsterdam Museum (Amsterdam). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V katerih letih je Bernard Accama naslikal svoja najbolj znana dela?Razkriti odgovor
V obdobju 1750s: 15 od 46 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of Ds. Hesseling.
Kakšna sta prva in zadnja znana originala umetnika Bernard Accama?Razkriti odgovor
Na tej strani je najstarejše delo iz Portrait painting of Frans Julius Johan Heringa van Eysinga (1710) in najstarejše iz Portrait of Johanna Geertruid Juliana van Sytzama (1756).
Katera dela umetnika Bernard Accama so razstavljena v muzeju Fries Museum?Razkriti odgovor
Portrait painting of Frans Julius Johan Heringa van Eysinga, Portrait of Campegius Vitringa (Sr) in Portrait of Unknown Woman: v muzeju Fries Museum, Leeuwarden se nahaja 37 del z te strani.
Bernard Accama: življenje in delo
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.






