Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 71 del v našem katalogu avtorja Jan Miel
Kratek opis
Scene from the Life of Tramps (Lazzaroni) (1650) je slika avtorja Jan Miel, ki pritegne največ pogledov; original se nahaja v muzeju Ermitaž, Sankt Peterburg. Nato se pogled smeri k Hunters at Rest (1650) in Carnival Entertainment (1635). Med 71 dela umetnika Jan Miel v našem katalogu so ta 71 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
A heavy, ochre light settles over the crumbling stone of ancient ruins. Here, the shadows are thick and deep, swallowing the corners of a chaotic street scene. Figures move through the haze of smoke and dust, their bodies caught in a sudden, sharp glare of sun. A man gestures with urgency, his hands carving shapes into the air, while others sit in the dirt, anchored by the weight of their…
is an oil on canvas painting by the Flemish artist Jan Miel. Created about 1650, the work captures a quiet moment within a pastoral scene. It depicts a hunting party finding respite amidst the landscape. The scene is anchored by the presence of horses and the sturdy silhouette of a fortified tower.
In "Carnival Entertainment" by Jan Miel, we find ourselves amidst a dense and dynamic urban scene. The composition is crowded, capturing a street festival where a large group of figures occupies the foreground and middle ground. These individuals—musicians, dancers, and various onlookers—are arranged to create a sense of constant movement. The perspective is a ground-level view, which provides a palpable sense of depth through the careful layering of people and…
The oil painting titled Sine Cerere et Baccho Friget Venus presents a mythological scene of abundance. Jan Miel rendered this work in 1645. It captures a moment where classical deities gather amidst the symbols of harvest and intoxication. The figures exist within a lush, Baroque-style arrangement of life and plenty.
The air in the grand, classical space feels heavy with the scent of incense and the weight of sudden grief. In the center of this dramatic scene, St. Lambert lies in repose, his body a pale, still anchor amidst a sea of movement. Above him, the celestial realm breaks through the gloom; an angel descends with fluid, sweeping drapery that seems to catch a wind from another world. The light…
The air at the roadside inn feels heavy with the scent of dust and old stone. Under a rugged stone archway, a group of travelers huddles in a moment of quiet tension. A woman in a garment of lapis blue leans toward a man, her presence a cool contrast to the earthy ochre and deep crimson that define the crowd. He is the soothsayer, a figure caught in the flickering…
The scene unfolds within the oil on canvas work titled Two hunters resting in a landscape (the standing hunter is a woman in men's clothes). This composition emerges from the hand of Jan Miel, a painter who brings a sense of immediate life to the quietude of the hunt. The work is dated 1639, capturing a specific moment of stillness amidst the natural world.
Three peasants having fun with music and dance by Jan Miel presents a lively genre scene centered on three figures engaged in rhythmic activity. The composition is dynamic, utilizing an intimate perspective that places the viewer in close proximity to the subjects. Within this shallow space, the central figure is captured mid-motion, a choice that establishes a sense of rhythmic movement throughout the scene. To the left of the main…
The Travelers' Dinner. Peasants Eating Near an Inn or Resting is a genre painting by Jan Miel. This work emerged around 1650, a period when the artist was active within the artistic circles of the seventeenth century. The canvas captures a specific slice of rural life through the eyes of a painter who understood the weight of stone and the texture of coarse cloth.
We are looking at An Italianate Landscape with Peasants Dancing, a work by Jan Miel. This piece dates to about 1650, a period when the artist was deeply engaged with the stylistic shifts occurring within the Italian Baroque. It is a significant example of how Miel navigated the transition from the gritty, everyday observations of the Bamboccianti to more expansive, classical compositions.
Falcon hunters in front of an inn in a ruin1650
12
The beggar1650
13
Barber and roulette players1650
14
Military resting with a fortune teller1650
15
Carnival parade in Rome1660
16
Hannibal's dream1661
17
Figures in the vicinity of architectural ruins1650
18
The gathering of the hunters1660 · Galleria Sabauda
19
Boar hunt1660 · Royal Palace of Venaria
20
Bear hunt1659 · Royal Palace of Venaria
21
Diana the Huntress1658 · Royal Palace of Venaria
22
Adoration of the Shepherds1650 · Pushkin State Museum
23
Serenade with dancers and musician1650
24
The Race of the Berber Horses in Rome1664
25
Traveling theatre1700
26
Harbour1652 · Ermitaž
27
La curea - curée - con corte Regale, Carlo Emanuele II e Franesca d1661 · Royal Palace of Venaria
28
Dance in the Trattoria1647 · Akademija likovnih umetnosti v Dunaju
29
LE BARBIER NAPOLITAINLouvre
30
St John the Baptist Preaching in the DesertNationalmuseum
31
The Arch of Constantine in Rome1648 · Barber Institute of Fine Arts
32
Scene in front of a tavern1638 · Narodni muzej v Varšavi
33
Figures Feasting at a Fair in Prati, Outside the Walls of Rome, with the Saint Peter's Basilica and Monte Mario Beyond1650
34
Deer hunt1661 · Royal Palace of Venaria
35
The death of the deer1660 · Royal Palace of Venaria
36
The Courtyard of Palazzo Nardini in Rome1650 · Palazzo Barberini
37
Hunters at RestMuzej Prado
38
Architectural Landscape1638 · Ermitaž
39
Carnival Time in Rome1653 · Muzej Prado
40
The snackMuzej Prado
41
Cottage with inhabitantsMuzej Prado
42
The local BarberMuzej Prado
43
Popular sceneMuzej Prado
44
The Flight into EgyptStatens Museum For Kunst
45
Soldiers RestingNationalmuseum
46
Peasants RestingNationalmuseum
47
Hunters RestingNationalmuseum
48
Fox huntingRoyal Palace of Venaria
49
Jugglers passing – CarnivalNarodni muzej v Varšavi
50
MARCHAND D'ESCARGOTS
51
Road in the Roman CampagnaErmitaž
52
PAYSAGE AVEC FIGURES
53
Maraudeurs italiens Une halte (autre titre)
54
Pastorale avec bergère endormie
55
The fugitive Erminia asks a fellow countryman for admission
56
The Assembly1660 · Château de Versailles
57
The vihuela playerMuzej Prado
58
LA DINEE DES VOYAGEURSLouvre
59
Genre Scene1650 · Ermitaž
60
Landscape with herdersMuzej Prado
61
LA HALTE MILITAIRELouvre
62
Landscape with a Battle between Two Rams1640 · Metropolitanski muzej umetnosti
63
Hunters at RestErmitaž
64
Shepherds and herd in a mountainous landscapeMusée Calvet
65
Carnival in the Piazza Colonna, RomeWadsworth Atheneum
66
Roman Lime Kiln with Peasants Gambling
67
Italian Peasants outside a TavernKraljeva zbirka
68
Un savetier
69
The bowls players
70
LE MENDIANTLouvre
71
CharlatanErmitaž
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 Miel | Slike iz tega seznama |
|---|---|---|---|
 Ermitaž |
Sankt Peterburg | 8 | Scene from the Life of Tramps (Lazzaroni), Hunters at Rest, Harbour |
 Muzej Prado |
Madrid | 8 | Hunters at Rest, Carnival Time in Rome, The snack |
 Royal Palace of Venaria |
Venaria Reale | 7 | Boar hunt, Bear hunt, Diana the Huntress |
 Louvre |
Pariz | 4 | LE BARBIER NAPOLITAIN, LA DINEE DES VOYAGEURS, LA HALTE MILITAIRE |
 Nationalmuseum |
Stockholm | 4 | St John the Baptist Preaching in the Desert, Soldiers Resting, Peasants Resting |
 Narodni muzej v Varšavi |
Varšava | 2 | Scene in front of a tavern, Jugglers passing – Carnival |
 Bavarske državne slikopisne zbirke |
München | 1 | Carnival Entertainment |
 Fitzwilliam Museum |
1 | The Veneration of St. Lambert |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
In "Carnival Entertainment" by Jan Miel, we find ourselves amidst a dense and dynamic urban scene. The composition is crowded, capturing a street festival where a large group of figures occupies the foreground and middle ground. These individuals—musicians, dancers, and various onlookers—are arranged to create a sense of constant movement. The perspective is a ground-level view, which provides a palpable sense of depth through the careful layering of people and…
The oil painting titled Sine Cerere et Baccho Friget Venus presents a mythological scene of abundance. Jan Miel rendered this work in 1645. It captures a moment where classical deities gather amidst the symbols of harvest and intoxication. The figures exist within a lush, Baroque-style arrangement of life and plenty.
A heavy, ochre light settles over the crumbling stone of ancient ruins. Here, the shadows are thick and deep, swallowing the corners of a chaotic street scene. Figures move through the haze of smoke and dust, their bodies caught in a sudden, sharp glare of sun. A man gestures with urgency, his hands carving shapes into the air, while others sit in the dirt, anchored by the weight of their…
The artwork titled Carnival parade in Rome is a painting by the artist Jan Miel. This specific piece is dated about 1660. The work belongs to the genre of oil painting, capturing a public celebration within a Roman street setting.
Scene from the Life of Tramps (Lazzaroni) (1650), Ermitaž, Sankt Peterburg. Zatem sledeta Hunters at Rest (1650) in Carnival Entertainment (1635).
51 let: delo Scene from the Life of Tramps (Lazzaroni) iz leta 1650, Jan Miel pa je bil/a rojen/a leta 1599.
Scene from the Life of Tramps (Lazzaroni), Hunters at Rest, Carnival Entertainment, Sine Cerere et Baccho Friget Venus, The Veneration of St. Lambert, Soothsayer at an inn, Two hunters resting in a landscape (the standing hunter is a woman in men's clothes), Three peasants having fun with music and dance, The Travelers' Dinner. Peasants Eating Near an Inn or Resting in An Italianate Landscape with Peasants Dancing. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 71 del avtorja Jan Miel, datiranih od 1635 do 1661.
Večini v Ermitaž (Sankt Peterburg), Muzej Prado (Madrid) in Royal Palace of Venaria (Venaria Reale). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1650s: 18 od 71 del na tej strani je bilo izdelovanih takrat, med njimi pa Scene from the Life of Tramps (Lazzaroni).
Na tej strani je najstarejše delo iz Carnival Entertainment (1635) in najstarejše iz Hannibal's dream (1661).
People (21), Landscape (15) in Architecture (14), na 71 delih na tej strani.
Oil On Canvas, za 34 od 71 del na tej strani.
Baroque, glede na originala na tej strani.
Scene from the Life of Tramps (Lazzaroni), Hunters at Rest in Harbour: v muzeju Ermitaž, Sankt Peterburg se nahaja 8 del z te strani.
Jan Miel (1599–1663) predstavlja ključno figuro v umetniški pokrajini sedemt عشرletja, saj v svojem delu utelja fascinantno stičišče flambrske tradicije in italijanske inovativnosti. Rodil se je v Beverenu v Belgiji—čeprav Antwerp in ’s-Hertogenbosch ostajata verodostojna kandidata za njegovo rojstno mesto—njegovo zgodnje življenje ostaja zavito v relativno nejasnost, zaradi česar so biografski podatki redki. Vendar pa iz znanstvenih raziskav izstopa izjemna umetniška pot, ki jo zaznamuje slogovna evolucija in sodelovanja, ki so mu utrdila mesto v živahnem kulturnem okolju Rima in Turina.
Svoje oblikovalne leta je preživel pri izkušanju svoje umetnosti predvsem v Antwerpu, kjer je sprejel vplive znamenitih flambrskih mojstrov, kot je bil Anthony van Dyck. Čepredo natančen obseg njegove izobrazbe ostaja neulovljiv, je nedvomno v njem vzpostavil spoštovanje do natančnega opazovanja in izpopoljene tehnike—lastnosti, ki bodo zaznamovale velik del njegove kasnejše tvorbe. Ta temeljita podlaga v klasičnem risarstvu in portretiranju je zagotovila bistven orodovnik za kariero, ki bo sčasoma presegla regionalne meje.
Mielov prihod v Rim okoli leta 1636 je označil prelomni trenutek v njegovi umetniški poti. Hitro se je pridružil Bentvueghels, vplivnemu združenju nizozemskih in flambrskih umetnikov, ki so prebivali v Večnem mestu. V tem bratstvu je sprejel nepozaben priimek ‘bieco’, kar je bil pripetje, ki odraža njegov značilen, skrenjen pogled—karakteristika, ki bo postala sinonim z njegovo umetniško osebnostjo. Ta pripadnost je spodbudila globoke povezave z širšo umetniško skupnostjo, ki je bila močno pod vplivom sloga Bamboccianti Pietersa van Laerja.
Ta gibanje je bilo posvečeno prikazovanju prizorov vsakdanjega življenja med nižjimi sloji v Rimu in okolici, saj je odrejalo idealizirano veličastje umetnosti visoke renesanse za nekaj veliko bolj vizceralnega in neposrednega. Miel je ta trend sprejel z vso močjo in ustvarjal očarljive žanrske slike, ki so s izjemnim realizmom in občutljivostjo zajele duh mestnega obstoja. Njegova dela so pogosto vključevala:
Ko se je njegova kariera razvijala, je umetniška vizija Miela doživela pomembno metamorfozo. Čeprav je ostal mojster žanrske slike, se je začel oddaljevati od surovega realizma Bamboccianti v smeri bolj klasicističnih zgodovinskih slik. Ta premik je odražal širši trend v evropski umetnosti, kjer je surova energija baroka vedno bolj ublažena z željo po redisu, plemenitosti in klasični alegoriji.
Ta razvoj ga je končno vodil do prestižnih任命ov, najbolj izstopajoče pa je bila služba kot dvorski umetnik Charlesa Emanuela II, vojvoda Savoj. V službi turinskega dvora je Mielovo delo dobilo bolj formalen in veličasten karakter. Intimnost njegovih zgodnejših rimskih scen se je predala kompozicijam večjega obsega in kompleksnosti, zasnovanim tako, da odražajo moč in prestiž njegovega kraljevega pokrovitelja. To obdobje predstavlja vrhunec njegove profesionalne dosežbe, kjer so se njegove flambrske korenine v podrobnostih srečale z grandioznimi, širimi narrativami, ki jih je zahtevala evropska aristokracija.
Zgodovinski pomen Jana Miela leži v njegovi sposobnosti navigiranja med temi nesklajenimi svetovoma. Bil je umetnik, ki je lahko v skromnih težavah rimske ulične mladine našel lepoto in v epskih zgodah antike dostojnost. S tem ko je premostil vrzel med natančnim realizmom Severa in dramatičnim klasicizmom Smieta, je Miel pustil neizbrisno sled v kanonu sedemt عشرletja in zagotovil svojo dediščino pravega kosmopolita barokne dobe.
