Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 86 del v našem katalogu avtorja Jan Baptist Weenix
Kratek opis
Med vsemi originali, ki jih je pustil Jan Baptist Weenix, je najbolj znan Tobit, asleep under a vine, is blinded (1642), ki se nahaja v kolekciji Museum Boijmans Van Beuningen, Rotterdam. Takoj za njima sta Italian landscape with shelter and antiques ruins (1658) in Still Life with a Dead Swan (1651). Naš katalog vsebuje 86 del umetnika Jan Baptist Weenix; galerija je ohranila 78 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
The air feels heavy with the scent of damp stone and the rhythmic, metallic scrape of steel against stone. Under a vast, expansive sky, a group of figures gathers within the skeletal remains of a classical ruin. A man leans into his work, operating a grinding wheel that cuts through the quietude of the scene. Beside him, a woman sits in repose, while a small child stands close by, watching…
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
The composition relies on strong vertical elements, primarily through imposing columns and a central, highly ornate pedestal topped with a large urn. These structures anchor the scene, providing a sense of scale against the scattered human figures in the foreground and middle ground. Through a use of deep recession, the perspective draws the eye past a colonnade toward a distant, hazy horizon where the masts of ships are visible.
The scene unfolds in 1648, a moment captured in the oil on canvas known as Harbour with Antique Ruins. This work belongs to the hand of Jan Baptist Weenix, an artist who brings the weight of history into a living, breathing maritime setting. The painting presents a world where the weathered stone of classical antiquity meets the constant, rhythmic movement of a working harbor. It is a vision of a…
In "The Angel Raphael Leaving Tobias's Family" by Jan Baptist Weenix, a divine departure unfolds with sudden, celestial energy. The scene captures the exact moment the Angel Raphael ascends toward the heavens, leaving the family below in a state of profound awe and reverence. A powerful diagonal movement pulls the eye from the lower left foreground upward toward the upper left, where the angelic figure climbs into a swirling formation…
vegetable-sellers at the house-door, 5 figures1646
12
caravane near the shore1646
13
Mother and Child1647
14
Circumcision of Moses' son1640 · Narodni muzej v Varšavi
15
Still Life with Game, Hunter and Two Dogs1652 · Bavarske državne slikopisne zbirke
16
Butterfly Dog and Dead Bird1649 · Museum Mayer van den Bergh
17
Pleasure boating1650
18
The Sleeping Shepherdess1658 · National Gallery of Ireland
19
Roman Tinker1656 · Städel Museum
20
The love letter1650 · Narodni muzej za umetnost, arhitekturo in dizajn
21
Italian Harbour1651 · Ermitaž
22
Italian Peasants among Ruins1650 · Detroit Institute of Arts
23
Sleeping girl1656 · Bavarske državne slikopisne zbirke
24
Rest on the Flight into Egypt1657 · Museum Boijmans Van Beuningen
25
Merry Company on a Ferry1649 · Museum Gouda
26
Battle at the foot of the mountain.1650 · Narodni muzej v Varšavi
27
Christina Lepper de Kempenaer and Her Children1653
28
Italian port scene, 16491649 · Centraal Museum
29
Italian Landscape with Horsemen by a Spring1657 · Centraal Museum
30
Before the walls of Rome1650 · National Museum in Wrocław
31
Portrait of a man with a letter1650 · Agnes Etherington Art Center
32
A Landscape with a Ford1660 · Regionalna galerija v Libericu
33
In the Campagna1669 · National Gallery of Ireland
34
Dead Fowl Being Eaten by a Cat1653 · Städel Museum
35
Departure of an Oriental Entourage1647 · Louvre
36
Display of Dead Game1641 · Petit Palais
37
Dead Game1641
38
River Landscape with a Ferry1650 · Montreal Museum of Fine Arts
39
Still Life with Dead Game and Poultry1656 · Centraal Museum
40
Still Life with Fowl1650 · Museum of Fine Arts Ghent (MSK)
41
Marine with a Venetian Bucintoro1650 · Staatliche Kunsthalle Karlsruhe
42
The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 16591659 · Rijksmuseum
43
After the Hunt, Jan Baptist Weenix, c. 16561656 · Rijksmuseum
44
Still Life with White Mouse1680 · Ernest Zmeták Art Gallery
45
Still Life with GameHarvard Art Museums
46
The Ford in the River1647 · Ermitaž
47
Harbor View with Rider in Oriental Dress,Groninger Museum
48
The Holy Women at the TombNational Gallery of Ireland
49
An Italian SeaportKraljevski muzej lepih umetnosti v Antwerpu
50
Architectural interior with foreign shippers, ruins and a shipyard beyond
51
Study of a sheep
52
A pig's carcase
53
The Tinker and His Dog
54
Landscape with Peasants and Animals
55
Dead Partridge1650 · Mauritshuis
56
Goat Lying Down, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
57
A Dog and a Cat near a partially disembowelled Deer, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
58
Still Life with Dead Poultry, Lidded Pitcher and PassglasBavarske državne slikopisne zbirke
59
Game-pieceNational Gallery of Ireland
60
Dead game and hunting tackle in landscape
61
Hound with a Joint of Meat and a Cat Looking on
62
Bouquet of flowersGemäldegalerie
63
Shipping in Harbour
64
Herons and Lapwings
65
Still Life of Dead Game in a Landscape with a Huntsman
66
An italian port scene
67
Shepherds and Flocks among Classical Ruins
68
A Coast Scene with Classical RuinsWallace Collection
69
Still Life with Dead Game
70
Hounds and an Owl with Dead Birds and Sculptures in a Landscape
71
Still Life with Dead Birds
72
Family in a Mediterranean Seaport
73
Figures near a SeaportScottish National Gallery
74
A Huntsman cutting up a Dead Deer, with Two DeerhoundsNational Gallery
75
Ancient RuinsMuzej lepih umetnosti
76
Figures among ruinsThe Kremer Collection
77
Ancient Ruins (detail)Muzej lepih umetnosti
78
Girl as Shepherdess1650 · Musée de Picardie
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Jan Baptist Weenix | Slike iz tega seznama |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 4 | The Scissors Grinder, Still Life with Game, Hunter and Two Dogs, Sleeping girl |
 Centraal Museum |
Utrecht | 4 | Portrait of René Descartes, Italian port scene, 1649, Italian Landscape with Horsemen by a Spring |
 National Gallery of Ireland |
Dublin | 4 | The Sleeping Shepherdess, In the Campagna, The Holy Women at the Tomb |
 Rijksmuseum |
Amsterdam | 4 | The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, After the Hunt, Jan Baptist Weenix, c. 1656, Goat Lying Down, Jan Baptist Weenix, 1645 - 1660 |
 Museum Boijmans Van Beuningen |
Rotterdam | 2 | Tobit, asleep under a vine, is blinded, Rest on the Flight into Egypt |
 Mauritshuis |
Haag | 2 | Italian landscape with shelter and antiques ruins, Dead Partridge |
 Detroit Institute of Arts |
Detroit | 2 | Still Life with a Dead Swan, Italian Peasants among Ruins |
 Nationalmuseum |
Stockholm | 2 | Harbour with Antique Ruins, The Angel Raphael Leaving Tobias's Family |
Od 1640 do 1659 je Jan Baptist Weenix delal 20 let: izborka sledi tej dolgi karieri leta za letom, skozi njegova najlepša originalna dela.
Izberite leto in oglej originale.
The composition is defined by a sharp diagonal movement, tracing a path from the upper left toward a figure positioned on the ground. A descending figure, draped in billowing white and cream fabric, moves through a dark, receding background. Below, a man dressed in red reaches upward with outstretched arms. The scene is rendered in oil on canvas, utilizing a palette of deep browns, ochres, and umbers. Light emanates from…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
Več od 1641
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on canvas titled vegetable-sellers at the house-door, 5 figures was painted by Jan Baptist Weenix. This work dates to about 1646. It captures a quiet moment of human gathering near a stone threshold.
Več od 1646
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
Več od 1647
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
Več od 1648
Butterfly Dog and Dead Bird is a painting by Jan Baptist Weenix. Created about 1649, the work captures a quiet moment of mortality. The artist, Jan Baptist Weenix, was born in 1621 near the harbor of Amsterdam. He was the son of an architect, a lineage that perhaps informed his sense of structure and form.
Več od 1649
The scene unfolds in Pleasure boating, a work by the Dutch Golden Age painter Jan Baptist Weenix. Born in 1621, the artist brings a sense of life to this maritime setting. The composition captures a moment of leisure near a shoreline, where figures gather around a small boat. In the distance, a large tower and architectural ruins rise against the horizon, grounding the activity in a landscape that feels both…
Več od 1650
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
Več od 1651
The air feels heavy with the scent of damp earth and the metallic tang of the hunt. In this somber, Baroque-style scene, a sudden stillness has fallen over the landscape, leaving only the echoes of a recent chase. A large white bird, perhaps a swan or a goose, lies at the center of the composition, its wings spread wide in a final, frozen gesture of flight. The pale plumage catches…
The scene unfolds through the oil on canvas of Christina Lepper de Kempenaer and Her Children, a work that captures a quiet moment of familial presence. Jan Baptist Weenix brings this group to life, anchoring the figures within a structured space that feels both intimate and grand. The painting measures 93.4 x 121.3 cm, a scale that allows the viewer to feel the proximity of the subjects and the weight…
In "Roman Tinker" by Jan Baptist Weenix, a solitary figure occupies a rustic, outdoor setting that feels suspended in a quiet moment. The composition follows an asymmetrical arrangement, drawing the eye away from the immediate foreground toward a sprawling landscape. A young man, identified as a tinker, sits in the lower right foreground, his presence anchoring the scene. Near him, various pots rest upon the uneven ground, suggesting a life…
Več od 1656
A serene and pastoral scene unfolds within a Baroque landscape, capturing a moment of respite during a period of travel. A woman sits amidst the undulating hills, cradling an infant in her arms, while a man mounted on a donkey waits nearby. The composition is anchored by a large, dark, textured tree on the left, which frames the central figures and directs the eye toward the receding landscape. Sheep and…
Več od 1657
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
Več od 1658
In The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, the artist Jan Baptist Weenix captures a moment of diplomatic transit. The scene focuses on Ambassador Joan Cunaeus and his secretary Cornelis Speelman. They move through a courtyard, part of a larger mission to stimulate trade in silk and horses within Persia. The air of the meeting feels heavy with the weight of commerce and…
Tobit, asleep under a vine, is blinded (1642), Museum Boijmans Van Beuningen, Rotterdam. Zatem sledeta Italian landscape with shelter and antiques ruins (1658) in Still Life with a Dead Swan (1651).
21 let: delo Tobit, asleep under a vine, is blinded iz leta 1642, Jan Baptist Weenix pa je bil/a rojen/a leta 1621.
Tobit, asleep under a vine, is blinded, Italian landscape with shelter and antiques ruins, Still Life with a Dead Swan, Tobit Sleeping Under the Vine, The Scissors Grinder, Hunters Near Ruins, Portrait of René Descartes, Monument at a Harbour, Harbour with Antique Ruins in The Angel Raphael Leaving Tobias's Family. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 86 del avtorja Jan Baptist Weenix, datiranih od 1640 do 1659.
Večini v Bavarske državne slikopisne zbirke (München), Centraal Museum (Utrecht) in National Gallery of Ireland (Dublin). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1650: 11 od 78 del na tej strani je bilo izdelovanih takrat, med njimi pa Pleasure boating.
Na tej strani je najstarejše delo iz Circumcision of Moses' son (1640) in najstarejše iz The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659 (1659).
Landscape (18), Ruins (17) in Sky (13), na 78 delih na tej strani.
Oil On Canvas, za 30 od 78 del na tej strani.
Dutch golden age in Baroque, glede na originala na tej strani.
The Scissors Grinder, Still Life with Game, Hunter and Two Dogs in Sleeping girl: v muzeju Bavarske državne slikopisne zbirke, München se nahaja 4 del z te strani.
Jan Baptist Weenix izstopa kot edinstvena figura v dobi nizozemskega zlata veka, ki je navdušuje s svojo značilno zmedavo natančnega opazovanja in bogate imaginativne vizije. Čeprav je bil njegov umetniški izsil, v primerjavi s sodobniki, kot sta Rembrandt ali Vermeer, relativno skromen, Weenixov prispevek k nizozemski umetniški zgodovini je nepodvden—predvsem njegova pionirska raziskovanja italijanskih pejzažev, vključno z človeškimi figurami, ki so vzpostavili slogovni predhod, ki se je odzival skozi prihodnja generacije. Rodil se je leta 1621 v Amsterdamu, blizu živahne pristanišče, in izrastel iz družine arhitekta, kar je verjetno oblikovalo njegove formative leta sredi intelektualnega in strukturnega previranja tistega časa.
Kljub osebim izzivom—navedbe kažejo, da se je zaradi medicinske težave soočal s težavami pri govorjenju—je Weenix v sebi nosil vročo strast do literature in umetnosti, ki jo je negovala mati, ki je z aktivnostjo poskrbela, da je podučeval pri Janu Mickerju, Rembrandtovem svaku. Ta zgodnja izobrazba mu je vgradila discipliniran pristop k risanju in opazovanju, ki sta postala značilnosti njegovega dela. Svoje znanje je še izpiloval v Utrechtu pod vodstvom Abrahama Bloemaerta, nato pa se je vrnil v Amsterdam, da bi študiral pri Claesu Corneliszoonu Moeyaertu, s čimer je utrdil svojo prisotnost v prevailingih umetniških tokovih Nizozemske.
Weenixova pok职业na pot je bila globoko spremenjena zaradi njegovih potovanj, najbolj izstopajoče pa je bilo njegovo potovanje v Rim leta 1643 skupaj z Nicolaesom Pieterszoonom Berchemom. Ta izlet mu je omogočil srečanje z živahnim intelektualnim in umetniškim okoljem cehovske družine Bentvueghels, kar je bil izraz, ki ga je pognal v širše slogovne območje. V Rimu je sprejel italijanski slog, ki ga odlikuje topla, zlata svetloba in klasični pejzaži, ki so se čudovito kontrastirali z hladnejšimi, bolj sogičnimi toni tradicionalne nizozemske slikarstva. To obdobje rimskega vpliva mu je omogočilo mojstren poskus umetnosti "italijaniziranega pejzaža", kjer je bila neobdelana lepota južne Evrope ponovno predstavljena skozi oko severne Evrope.
Njegovo del v tej dobi je pogosto združeval veličnost klasičnih okolij z intimnimi, človeškimi elementi. Ne glede na to, ali je prikazoval pristaniške scene, ki so šepetale o pomorskem trgovini, ali razlegene vidike, ki so vzbudili občutek brezčasnosti, je imel Weenix edinstveno sposobnost zajeti vzdušje kraja. Njegovo mojstvo ni bilo omejeno le na neskončne horizonte; enako spretno je znal ujeti tiho, pogosto vizceralno realnost življenja skozi svoje živopise mrtve narave. Njegovi prikazi lovske lažni in živali so bili zaznamovani z osupljivim realizmom, kjer je bila vsaka tekstura—od grubega krzna lovskega psa do nežnega sijaja perja—predstavljena z zapirajočjo natančnostjo.
Pomen Jana Baptista Weenixa leži v njegovi sposobnosti, da premosti vrzel med surovo realnostjo nizozemske tradicije in idealizirano lepoto italijaniziranega gibanja. Njegova vsestranost mu je omogočila navigacijo skozi raznolike temate, od dramatične napetosti v delih, kot je Po lovu, do tihe, skoraj sogične intenzivnosti njegovih študij živali. Skozi njegov čopček je gledalec povabljen v svet, kjer so meje med opazovanim naravnim svetom in predstavljenim klasičnim preteklošću čudovito zamegljene.
Ko razmišljamo o njegovem življenju in delu, nekaj ključnih elementov opredelja njegovo trajno pomembnost:
Čeprav je bilo njegovo življenje relativno kratko in se je končalo leta 1661, ostaja pečat, ki ga je pustil Jan Baptist Weenix, vidljiv v evoluciji slikarstva pejzaža. Prihodnjim generacijam je naučil, kako gledati na obzorje ne le kot na mejo, temveč kot na platno za svetlobo, zgodovino in človeške čustva.
