Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 68 del v našem katalogu avtorja Johann Closterman
Kratek opis
Izpostavljeno v galeriji je najbolj znano sliko umetnika Johann Closterman, ki je Robert Constable (1651–1714), 3rd Viscount Dunbar (1690). Portrait of a Figure with Cockatoo (1685) in Henry Purcell (1695) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 68 del avtorja Johann Closterman v našem katalogu galerija spodaj predstavlja 62 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
A man leans against a table, his body anchored in a quiet, interior space. He wears the heavy, polished armor of a nobleman, the metal catching a sharp light from the upper left. This light carves the contours of his face and the rigid lines of his breastplate, casting deep shadows that give his form a heavy, physical presence. A blue scarf drapes around his neck, a single splash of…
A young man occupies the center of this vertical composition, his presence anchored by a heavy, navy blue velvet coat. He stands amidst a rugged landscape where the earth meets a heavy, cloudy sky. His dark, wavy hair falls long against the structured collar of a white ruffled cravat. On his right hand, a white cockatoo rests, its feathers catching the light. The bird is a pale, sharp contrast against…
In this portrait of Henry Purcell by Johann Closterman, we encounter a man who shaped the very foundations of English music. Painted about 1695, the work captures the likeness of a figure widely celebrated as the father of modern music in England. Purcell was a presence of significant influence during the Restoration period, a time of profound musical transformation. His career was marked by an early and remarkable ascent within…
In this portrait from 1700, we encounter the steady gaze of Sir Richard Haddock. The subject meets our eyes with a stern, unwavering expression that suggests a life defined by discipline and command. His features are rendered with a meticulous attention to detail, from the heavy texture of his mustache to the individual strands of his long hair. There is a certain weight to his presence, a gravity that comes…
This bust-length portrait depicts John Churchill, 1st Duke of Marlborough. Painted by Johann Closterman in 1687, the work presents the subject in a formal manner. The figure is positioned at a slight angle, with the gaze directed toward the viewer. The subject wears polished steel armor that reflects light, paired with a white cravat at the neck.
In this formal portrait, Johann Closterman positions Major general thomas fairfax ) in a three-quarter pose. The composition is anchored by the subject's stature, defined by strong vertical lines that command the space. A voluminous wig rests atop his head, adding a heavy, sculptural weight to his silhouette. To the right, a landscape element appears faintly in the background, a ghost of a world beyond the immediate shadow.
This portrait of John Poulett, first Earl Poulett, was executed by the artist Johann Closterman around 1690. The subject is depicted as a young boy, presented in a full-length pose that emphasizes his status and lineage. As a British politician and courtier, the young Poulett is portrayed with the formal attributes associated with his noble standing. He is shown standing slightly off-center, accompanied by a small dog at his feet.
Johann Closterman executed the Portrait of David Papillon ) in 1691. The subject is a young man identified as David Papillon, presented in a formal depiction that emphasizes his social standing and character. The work emerged during a period when Closterman was establishing his reputation for capturing the nuances of the European elite.
In this portrait of Isabella Machell, Viscountess Irwin, Johann Closterman captures a moment of quiet dignity. Painted about 1690, the work presents the subject in a serene, seated pose upon an ornate bench. She is positioned within a garden setting, a choice that lends a sense of grace to the composition. The subject gazes directly at the viewer, her expression softened by a gentle smile that suggests a calm and…
In this full-length portrait from 1703, we encounter John Manners, 1st Duke of Rutland, captured in a moment of profound stillness and high station. He is positioned slightly to the left, his presence commanding the vertical space of the canvas. The subject is draped in heavy, ceremonial coronation robes, the deep reds of the velvet creating a striking contrast against the white and black of the ermine fur trim. His…
William Bromley, MP & Speaker (1664 – 1732)1709 · Charlecote Park
12
Colonel George Lucy (1665/66 - 1721)1704 · Charlecote Park
13
Portrait of a Gentleman (said to be John Howe, 1630–1705, chaplain to Oliver Cromwell and his son)1702 · Christ's College
14
John Bridgeman Of Prinknash1638
15
John Bridgeman of Prinknash1638
16
Portrait of Judge George Jeffreys, First Baron of Wem1648
17
John Churchill 1st Duke Of Marlborough And Sarah Duchess Of Marlborough With1660
18
Elizabeth Mulso, Mrs John Dolben1685
19
Sir William Brownlow (1665–1702), 4th Bt of Humby, MP1685 · National Trust
20
Alice Sherard (1659–1721), Lady Brownlow1685 · National Trust
21
John Dolben, MP1685
22
Sir John Brownlow (1659–1697), 3rd Bt, 'Young Sir John'1685 · National Trust
23
Dorothy Mason (1665–1699 1700), Lady Brownlow1685 · National Trust
24
Lady Margaret Tufton, Lady Coventry1680
25
Inscribed as 'Elizabeth Kirkley (d.1674), First Wife of Sir William Blackett, 1st Bt (1st Creation)' (but probably Mary Yorke, 2nd wife of Sir Edward Blackett, 2nd Bt)1680 · Narodni zakotek Wallington
26
Lady Amabel Grey (b.1673), Sister of Henry Grey, Duke of Kent1694
27
Charles Seymour (1662–1748), 6th Duke of Somerset, KG, with a Black Page1692 · Petworth House
28
Christopher Wren (1632–1723)1690 · Royal Society
29
Colonel George Lucy (1665 1666–1721)1690 · National Trust
30
Lady Elizabeth Percy, Duchess of Somerset, and Her Son1690 · Petworth House
31
Samuel Pepys1690 · National Portrait Gallery
32
The Children of John Taylor of Bifrons Park1696 · Beningbrough Hall
33
Lady Amabel Grey, Daughter of Henry Grey, Duke of Kent1694
34
William Cowper (1666–1709)1690
35
Portrait of Guilford Killigrew, When a Boy1709
36
Queen Anne (1665–1714) (after Godfrey Kneller)1703 · Windsor Guildhall
37
James Craggs the Elder1710 · National Portrait Gallery
38
Arthur Herbert (c.1648–1716), 1st Earl of Torrington1700
39
Eleanor Brownlow (1691–1730), Later Viscountess Tyrconnel, as a Young Girl1702 · National Trust
40
Sir Henry Parker (c.1640–1713), 2nd Bt of Honington1700
41
Eleanor Brownlow, Later Viscountess Tyrconnel, as a Young Girl1702 · Belton House
42
Unknown man, formerly known as Sir James Thornhill1705 · National Portrait Gallery
43
Maurice Ashley Cooper Anthony Ashley Cooper, 3rd Earl of Shaftesbury1702
44
Sir John Aubrey (c.1650–1700), 2nd Bt
45
Sir Robert Dashwood (1666–1734), Bt
46
Sir William Temple
47
Edward Montagu (1670–1729), 3rd Earl of Sandwich
48
Portrait of a Racehorse and Jockey
49
Portrait Of Charles Calvert
50
Portrait of Edward Radclyffe, 2nd Earl of Derwentwater (oil on canvas)
51
Portrait of Thomas and George Dashwood
52
Portrait of a Lady
53
Mary Hough, Lady (Basil) FirebraceMelford Hall
54
Daniel parke
55
Portrait of Queen Anne
56
Prince George of Denmark (1653–1708), Consort to Queen Anne (after Godfrey Kneller)Windsor Guildhall
57
Edward Montagu, 3rd Earl of Sandwich
58
Elizabeth Crewe, Countess of ArranCalke Abbey
59
Portrait of a Gentleman Wearing Red
60
Probably Sir Edward Blackett (1651 1652–1718), 2nd BtNarodni zakotek Wallington
61
The Triumph of John, 1st Duke of MarlboroughThe Royal Hospital Chelsea
62
Portrait of William Paul (1673 1711) of Bray, Berkshire, with his dog and a gun
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 Johann Closterman | Slike iz tega seznama |
|---|---|---|---|
 National Portrait Gallery |
London | 5 | Henry Purcell, John Churchill, 1st Duke of Marlborough, Samuel Pepys |
 National Trust |
Grantham | 5 | Sir William Brownlow (1665–1702), 4th Bt of Humby, MP, Alice Sherard (1659–1721), Lady Brownlow, Sir John Brownlow (1659–1697), 3rd Bt, 'Young Sir John' |
 Charlecote Park |
Warwickshire | 2 | William Bromley, MP & Speaker (1664 – 1732), Colonel George Lucy (1665/66 - 1721) |
 Narodni zakotek Wallington |
Wallington | 2 | Inscribed as 'Elizabeth Kirkley (d.1674), First Wife of Sir William Blackett, 1st Bt (1st Creation)' (but probably Mary Yorke, 2nd wife of Sir Edward Blackett, 2nd Bt), Probably Sir Edward Blackett (1651 1652–1718), 2nd Bt |
 Petworth House |
Petworth | 2 | Charles Seymour (1662–1748), 6th Duke of Somerset, KG, with a Black Page, Lady Elizabeth Percy, Duchess of Somerset, and Her Son |
 Windsor Guildhall |
Windsor | 2 | Queen Anne (1665–1714) (after Godfrey Kneller), Prince George of Denmark (1653–1708), Consort to Queen Anne (after Godfrey Kneller) |
 Muzej Prado |
Madrid | 1 | Portrait of a Figure with Cockatoo |
 Ministry of Defence |
London | 1 | Sir Richard Haddock (1629–1715) |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
A young man occupies the center of this vertical composition, his presence anchored by a heavy, navy blue velvet coat. He stands amidst a rugged landscape where the earth meets a heavy, cloudy sky. His dark, wavy hair falls long against the structured collar of a white ruffled cravat. On his right hand, a white cockatoo rests, its feathers catching the light. The bird is a pale, sharp contrast against…
A man leans against a table, his body anchored in a quiet, interior space. He wears the heavy, polished armor of a nobleman, the metal catching a sharp light from the upper left. This light carves the contours of his face and the rigid lines of his breastplate, casting deep shadows that give his form a heavy, physical presence. A blue scarf drapes around his neck, a single splash of…
In this portrait from 1700, we encounter the steady gaze of Sir Richard Haddock. The subject meets our eyes with a stern, unwavering expression that suggests a life defined by discipline and command. His features are rendered with a meticulous attention to detail, from the heavy texture of his mustache to the individual strands of his long hair. There is a certain weight to his presence, a gravity that comes…
Robert Constable (1651–1714), 3rd Viscount Dunbar (1690). Zatem sledeta Portrait of a Figure with Cockatoo (1685) in Henry Purcell (1695).
30 let: delo Robert Constable (1651–1714), 3rd Viscount Dunbar iz leta 1690, Johann Closterman pa je bil/a rojen/a leta 1660.
Robert Constable (1651–1714), 3rd Viscount Dunbar, Portrait of a Figure with Cockatoo, Henry Purcell, Sir Richard Haddock (1629–1715), John Churchill, 1st Duke of Marlborough, Major general thomas fairfax ), John Poulett, first Earl Poulett, Portrait of David Papillon ), Isabella Machell, Viscountess Irwin in John Manners, 1st Duke of Rutland (1638 – 1711). Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 68 del avtorja Johann Closterman, datiranih od 1680 do 1710.
Večini v National Portrait Gallery (London), National Trust (Grantham) in Charlecote Park (Warwickshire). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1690s: 14 od 62 del na tej strani je bilo izdelovanih takrat, med njimi pa Robert Constable (1651–1714), 3rd Viscount Dunbar.
Na tej strani je najstarejše delo iz Lady Margaret Tufton, Lady Coventry (1680) in najstarejše iz James Craggs the Elder (1710).
Man (13), Women (9) in Royalty (7), na 62 delih na tej strani.
Oil On Canvas, za 14 od 62 del na tej strani.
Baroque, glede na originala na tej strani.
Henry Purcell, John Churchill, 1st Duke of Marlborough in Samuel Pepys: v muzeju National Portrait Gallery, London se nahaja 5 del z te strani.
Ko je prišel do polne zrelosti, je Closterman, prepoznavajoč svoj talent, naredil ključen korak v svoji umetniški izobrazbi in se leta 1679 preselil v Pariz. Tam je našel mentorstvo pri François de Troy, slavnem slikarju, ki je bil znan po svojih zapletenih in opulentnih prikazih aristokratskega življenja ter zapletenih dekorativnih načrtih. Ta povezava je Clostermana izpostavila prevladujočim umetniškim tokovom parizkega dvora in izpilila njegove veščine pri zajemanju subtilnih izrazov ter prenašanju veličastnosti skozi natančno in prefinjeno črtanje čopičem.
Z ambicijo in željo po večjih priložnostih se je Closterman leta 1681 odločil za pot v Anglijo. Tam se je hitro uveljavil kot asistent John Rileyja, izpostenega portretista, ki je bil izjemen zaradi svoje sposobnosti, da je subjekte portretiral z izjemnim realizmom in psihološko globino. Posebej je prispeval k Rileyjevim monumentalnim portretom plemiških družin, kjer se je osredotočal predvsem na prikaze draperij—tehniko, ki je razkrila njegovo popolno obvladovanje barv in tekstur.
Španski patronaž in umetniško raziskovanje: Leta 1696 je Closterman prejel prestižno vabilo, da bi služil kot dvorski slikar španskega kralja Charlesa II — čast, ki mu je odprela vrata najbogatejšim in najbolj vplivnim krogom v Evropi. Med svojim bivalenjem v Madridu je ustvaril portrete kralja, njegove žene Mariane Avstrijske in drugih dignitarjev, s čimer je pokazal svojo vsestranskost in sposobnost prilagajanja sloga različnim umetniškim tradicijam. Poleg tega je Closterman dvakrat opravil obsežne poti skozi Italijo, kjer je pridobil dragocena umetniška dela, ki so obogatila njegovo osebno zbirko in širila njegove umetniške obzorja.
Ob vrnitvi v Anglijo je Closterman doživeti ponovno vzpon zanimanja za svoje storitve med angleško elito, kar je bilo dokaz njegove neugasene talente in ugleda. Leta 1698 se je poročil z Hannah in tako si zagotovil domače življenje, ki je vsebovalo radosti in žalosti, značilne za vsak družinski odnos. Tragično je Hannah leta 1702 skončala svoj življenjski pot zaradi bolezni, kar je Clostermana pustilo v globoki žalosti. Razprave nakazujejo, da se je kasneje vključil v afero z mistresso, ki mu je pridržno odnepala znaczna sredstva—dogodek, ki ga je po navprah prislil v mentalno razpad. Biografski zapis, ki ga je pripravil Jacob Campo Weyerman, portreti Clostermana kot "slikarja, ki si je vzel čudovito ljubico, ki mu je med njegovim odhodom v podeželje pobrala dragocenosti in izginila, kar je avtorja sprožilo v cono connosti." Umrl je v miru leta 1711 na pokopališču Covent Garden v Londonu.
Umetniška dediščina, ki jo je pustil Johann Closterman, se skriva predvsem v njegovih očarujočih portretih—še posebej v tistih, ki so jih naročili vrhovni predstavniki britanske nobility. Njegova nepopustljiva pozornost do detajlov, mojstrovsko ravnanje z barvo in teksturo ter sposobnost prenašanja psiholoških nians so ga ločili od številnih sodobnikov. Medtem ko biografski zapisi ponujajo le skratek vpogled v njegovo osebno življenje in notranje boritve, Clostermanov trajni prispevek k zgodovini umetnosti njegovega obdobja ostaja neosporen—kot dokaz njegove vrhunske veščine portretista in njegove vloge pri dokumentiranju veličastnosti ter zapletenosti georgijanske družbe. Njegovo del še vedno predstavlja predmet raziskav in občudenja, zaradi svoje stilske elegance in umetniške integritete.
