Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 37 del v našem katalogu avtorja Jan Wildens
Kratek opis
Med vsemi originali, ki jih je pustil Jan Wildens, je najbolj znan Landscape with hunters (1649), ki se nahaja v kolekciji Kunsthistorisches Museum, Dunaj. Takoj za njima sta Landscape with Christ and his Disciples on the Road to Emmaus (1640) in Landscape with Rocky Formations (1600). Naš katalog vsebuje 37 del umetnika Jan Wildens; galerija je ohranila 36 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
In the quietude of Jan Wildens’ 1640 masterpiece, Landscape with Christ and his Disciples on the Road to Emmaus, the viewer is invited into a moment of profound spiritual stillness. This monumental canvas does not merely depict a biblical event; it orchestrates a meditation on faith set against the restorative backdrop of the natural world. As we gaze upon the rolling hills and the dusty, winding path, we find ourselves…
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
In this oil painting, titled Landscape; loving couples at breakfast, Jan Wildens presents a pastoral scene that invites a quiet contemplation of rural life. Created about 1611, the work captures several couples gathered in a meadow, enjoying a meal together in the open air. The figures are situated within a lush, natural setting, surrounded by the soft textures of a rolling landscape. There is a sense of calm in their…
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
Landscape with the Devil Sowing Tares by Jan Wildens, executed about 1635, presents a biblical allegory set within a wooded environment. The composition centers on the Parable of the Tares, a narrative of spiritual deception. A single figure, representing the Devil, moves through the terrain to sow weeds among the wheat.
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
The sun hangs low on the horizon, casting a warm, diffused glow across a sprawling landscape that feels as though it is breathing. In this wide, panoramic scene, the air seems thick with the quiet tension of a fated encounter. Rebekah stands by the well, her presence a focal point amidst a gathering of travelers, camels, and livestock. The light of the setting sun catches the edges of the figures,…
The oil painting titled Boar Hunt was executed by the Flemish artist Jan Wildens. This work is a copy of a painting originating from the workshop of Peter Paul Rubens. It captures a moment of intense movement within the forest, rendered with the specific hand of Wildens. The piece dates to about 1640.
Pastorale1643 · Rubens House
12
August, harvest
13
Landscape with Dead Oak1600 · Museum Mayer van den Bergh
14
Landscape with figures1601 · Muzej Prado
15
Forest Landscape with Stream1619
16
Landscape with shearers1613 · Muzej Prado
17
Travellers at the ferry launch1617 · New York Historical Society
18
Landscape with a rainbow and lumberjacks1621 · Gemäldegalerie
19
Marshy Countryside1629 · Muzej lepih umetnosti
20
Landscape with Shepherds1631 · Koninklijk Museum voor Schone Kunsten
21
Landscape with love couple1640 · Kunsthistorisches Museum
22
Landscape with Thunderstorm1649 · Bavarske državne slikopisne zbirke
23
Landscape with Hunt of Meleager and Atalanta1650 · Kraljevski muzej lepih umetnosti v Antwerpu
24
Landscape with Gentlefolk and GypsiesMuzej fine arts
25
Panoramic View of Antwerp from the East, Jan Wildens, 16361636 · Rijksmuseum
26
Stag huntErmitaž
27
Horse Attacked by DogsErmitaž
28
Mercury and Argus
29
Road on the bank of the stream
30
A wooded landscape with a figure on horseback and shepherds with their flock on a path, a castle bayond
31
Wolves Attacking a HorseErmitaž
32
Joseph sold by his BrothersFundación Banco Santander
33
Infant Christ and St. John the Babtist in a landscape.Narodni muzej v Varšavi
34
The St. Bernard Abbey in HemiksemKraljevski muzej lepih umetnosti v Antwerpu
35
Landscape with Peasants
36
Winter Landscape with a Hunter1624 · Gemäldegalerie Alte Meister
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 Wildens | Slike iz tega seznama |
|---|---|---|---|
 Ermitaž |
Sankt Peterburg | 5 | Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape, Stag hunt |
 Bavarske državne slikopisne zbirke |
München | 3 | Latona and the Lycian Peasants, Boar Hunt, Landscape with Thunderstorm |
 Kunsthistorisches Museum |
Dunaj | 2 | Landscape with hunters, Landscape with love couple |
 Museum Mayer van den Bergh |
Antwerp | 2 | Landscape with Rocky Formations, Landscape with Dead Oak |
 Muzej Prado |
Madrid | 2 | Landscape with figures, Landscape with shearers |
 Kraljevski muzej lepih umetnosti v Antwerpu |
Antverp | 2 | Landscape with Hunt of Meleager and Atalanta, The St. Bernard Abbey in Hemiksem |
 Yekaterinburg Museum of Fine Arts |
Jekaterinburg | 1 | Transformation of Women into Magpies |
 Kraljeva zbirka |
London | 1 | Landscape with the Devil Sowing Tares |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
Landscape with Hunt of Meleager and Atalanta by Jan Wildens, executed about 1650, presents a dramatic scene set within a dense, wooded environment. The composition centers on a group of hunters, horses, and hounds engaged in a frantic pursuit. This activity likely represents the mythological hunt of Meleager and Atalanta.
Landscape with hunters (1649), Kunsthistorisches Museum, Dunaj. Zatem sledeta Landscape with Christ and his Disciples on the Road to Emmaus (1640) in Landscape with Rocky Formations (1600).
63 let: delo Landscape with hunters iz leta 1649, Jan Wildens pa je bil/a rojen/a leta 1586.
Landscape with hunters, Landscape with Christ and his Disciples on the Road to Emmaus, Landscape with Rocky Formations, Latona and the Lycian Peasants, Landscape; loving couples at breakfast, Transformation of Women into Magpies, Landscape with the Devil Sowing Tares, Hunter with Dogs in a Landscape, Rebekah and Eliezer at the well (Genesis 24:18-19) in Boar Hunt. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 37 del avtorja Jan Wildens, datiranih od 1600 do 1650.
Večini v Ermitaž (Sankt Peterburg), Bavarske državne slikopisne zbirke (München) in Kunsthistorisches Museum (Dunaj). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1640s: 6 od 36 del na tej strani je bilo izdelovanih takrat, med njimi pa Landscape with hunters.
Na tej strani je najstarejše delo iz Landscape with Rocky Formations (1600) in najstarejše iz Landscape with Hunt of Meleager and Atalanta (1650).
Trees (18), Landscape (15) in Sky (15), na 36 delih na tej strani.
Oil On Canvas, za 17 od 36 del na tej strani.
Flemish baroque, glede na originala na tej strani.
Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape in Stag hunt: v muzeju Ermitaž, Sankt Peterburg se nahaja 5 del z te strani.
Jan Wildens, rojen v živahnem srcu Antverpije leta 1586, predstavlja ključno figuro v flandrijski barokni pejzažni tradiciji. Njegova umetniška dediščina temelji na natančno podrobnjenih scenah, prepojenih z globokim občutkom miru in realizmom—estetsko značilnostjo, ki je utrdila njegovo ugled ob slavnikih, kot sta Peter Paul Rubens in Jan Bril. Za razmerjem od mnogih sodobnikov, ki so izbrali dramatično teatralnost in turbulentne kompozicije, je Wildens negoval estetiko, ki je bila utemeljena na skrbnem opazovanju in subtilni podrobnosti. Imel je edinstveno sposobnost zajema samega bistva kmečkega življenja in mestnih razgledov, svet pa je predstavljal ne skozi prizmo kaosa, temveč skozi okno tihe, trajne lepote.
Temelji njegove mojstrstva so se postavili v obliki oblikovalne mladosti v Antverpiji. Medtem ko je bil njegov oče, Hendrick Wildens, spoštovan trgovec, je bila Janova pot predvsem namenjena platnu. Po premature smrti očeta sta ga vzpajali njegova mama, Magdalena van Vosbergen, in njen drugi mož, Cornelis Cock. To domačje okolje ga je postavilo v orbito velikih mojstrov, saj je bil Cock očimček Cornelisa de Vosa, kar je Jana vplelo v samo tkivo antverpske umetniške elite. Šele z šestnajstletnim starostjo je Wildens vstopil v prestižno antverpsko gildijo sv. Luke in se podrichtil pri Pieter van der Hulst (I). Pod njegovim mentorstvom je osvojil osnovne tehnike pejzažne kompozicije in svetlobe ter razvil natančen vizualni jezik, ki mu je pozneje omogočil, da je vplil življenje tako v razlegla panorame kot v intimne biblične prizore.
Najpomembnejče poglavje v Wildensovi izstopajoči karieri je bil zagotovo njegov globok umetniški partnerstvo s Peter Paul Rubensom. To ni bila zgolj odnos učenca in učitelja, temveč resnična kolaboracija enakopravnih umetnikov, ki je dvignila žanr pejzaža znotraj baroknega gibanja. Njuno skupno delo je obsegalo številne monumentalne projekte, najbolj pa čudesno serijo tapiserij Decius Mus, ki jo je naročil kardinal Ferdinand. V teh grandioznih kompozicijah je bilo Wildensu zaupano ustvarjanje atmosfere mestnih razgledov, ki so služili kot odra za zgodovinsko dramo, pri čemer je posebej prisdelal dve veličastavi pogled na veličastnost Antverpa. Ta povezava je Wildensu omogočila zlitje njegovega talenta za podrobnan realizem z epsko narativno razpono Rubensa, kar ga je poppushilo na vrh evropskega priznanja.
Poleg teh velikih naročil je Wildens pokazal izjemno vsestranost v tematiki. Njegova sposobnost prehajanja iz arhitekturne natančnosti mestnih pejzažev v duhovno tišino religijskih zapovedi je vidna v njegovem raznolikem delu. Na primer:
Zgodovinski pomen Wildensa leži v njegovi vlogi mostu med podrobnimi, opazovalnimi tradicijami pozne Renesanse in bolj razpoložljenskimi, čustvenimi pejzaži visokega baroka. Izogibal se je pasti zgolj dekorativnosti, namesto tega pa je pejzaž uporabil za utrditev velikih narativov v oprijemljivi, prepoznavni realnosti. Njegovo del je zagotavljalo nujnost "dih" za nadrealne figure v Rubensovih kompozicijah, saj je ponujalo občutek prostora, ki je mitološke in zgodovinske scene učinil del fizičnega sveta.
Ko se ogledamo nazaj na njegovo življenje, ki se je končalo leta 1653, vidimo umetnika, ki je osvojil umetnost subtilnosti. Skozi svojo predanost svetlobi, teksturi in atmosferi je Wildens zagotovil, da pejzaži Flandrije ne bodo zapomnljeni le kot ozadja, temveč kot trajni liki v zgodovini zahodne umetnosti. Njegova sposobnost, da v vsrduji najde izjemno, še vedno očarjava zbiratelje in zgodovinarje ter služi kot dokaz moči stalnega, opazujočega oka.
