Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 42 del v našem katalogu avtorja Jørgen Roed
Kratek opis
Kunstnerens mormoder (1828) je slika avtorja Jørgen Roed, ki pritegne največ pogledov; original se nahaja v muzeju Statens Museum For Kunst, Kopenhagen. Nato se pogled smeri k Portrait of Colonel von Darcheus (1834) in Charlotte Bartholin (1836). Med 42 dela umetnika Jørgen Roed v našem katalogu so ta 42 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
In this 1828 portrait, we are invited into a private, somber space occupied by an elderly woman. The composition is an intimate bust-length study, presented within an oval format that focuses our attention entirely on her character. There is a profound stillness here. The subject gazes out with a calm, steady expression, her eyes carrying a hint of melancholy that suggests a lifetime of endurance. She is framed against a…
In this 1834 oil portrait, we are invited to meet Colonel von Darcheus through a gaze that is both steady and deeply experienced. The subject is presented in a bust-length composition, his body turned slightly to the right while his eyes remain fixed upon us. There is a quiet gravity in his expression, a sense of stoicism that seems to emanate from the fine lines etched into his skin. The…
In this 1836 portrait, we find ourselves in the presence of Charlotte Bartholin, captured in a moment of profound stillness. The composition is a centered, bust-length study that focuses our attention entirely on her character. She is positioned slightly off-center, her gaze directed toward the right of the frame with an expression that suggests a calm, internal composure. The lighting, descending softly from the upper left, carves her features out…
The room feels quiet, held in a stillness that only a formal portrait can command. An elderly gentleman, I.C. Drewsen, sits with a quiet dignity, his gaze directed slightly away from the viewer toward an unseen horizon. He is a man of substance, his presence anchored by the heavy, dark velvet of his frock coat and the crisp, stark white of his high collar. The light enters from the upper…
The painting titled The Marine Painter Emil Wilhelm Normann in his Uniform as a Naval Officer is a portrait executed by the artist Jørgen Roed. This work depicts the subject, Emil Wilhelm Normann, in his capacity as a naval officer. The piece was created in 1830.
A young woman turns her gaze away, her profile etched against a world of shifting shadows. The light catches the delicate curve of her forehead and the bridge of her nose, leaving the rest of her features to melt into a soft, monochromatic depth. There is a stillness here, a moment caught in the breath between a thought and a word. Her hair, a complex architecture of dark, coiled curls,…
In this 1881 oil on canvas, we find ourselves in the presence of Caroline Amalie Meldahl, née Ræder. The portrait, painted by Jørgen Roed, captures a woman of significant social standing, a chamberlainess whose very posture commands the space around her. She is positioned centrally, her hands clasped in a gesture of composed restraint. The lighting, soft and directional from the upper left, carves her features out of the shadows,…
A somber, three-quarter length portrait from 1849 captures Ellen Roed, the artist's mother, in a moment of quiet contemplation. Seated slightly off-center, she faces the viewer directly, her expression marked by a calm, steady presence. The composition relies on a grayscale palette, utilizing a range of tones from the deep blacks of her shawl to the bright whites of her lace cap. Lighting enters from the upper left, casting gentle…
A young girl sits in the quiet center of the frame, her gaze meeting the viewer with a steady, calm innocence. She holds a woven basket, a vessel filled with the heavy, waxy textures of fruit. Light spills from the upper left, catching the curve of her cheek and the smooth skin of the produce, while the rest of the room retreats into a soft, dark shadow. The colors are…
Interior. Ribe Cathedral1836 · Hirschsprung Collection
12
An Artist Resting by the Roadside1832 · Statens Museum For Kunst
13
Miss Ida Wilhelmine Trock1835 · Nationalmuseum
14
Portrait of Ane Elisabeth (Elise) Gurlitt, né Saxild (1817-39)1836 · Nationalmuseum
15
Portrait of Ludvig Holberg. Copy after Johan Roselius1847 · Narodni muzej za umetnost, arhitekturo in dizajn
16
The Courtyard of the Palazzo del Bargello. Florence1842 · Statens Museum For Kunst
17
Familieliv i et lille fiskerleje nord for Helsingør1855 · Statens Museum For Kunst
18
Sjællandske høstpiger ved en brønd1850 · Statens Museum For Kunst
19
Haven med den gamle døbefont1850 · Statens Museum For Kunst
20
Andreas Munch1853 · Oslo Museum
21
The Actor Kristian Mantzius1854 · Nationalmuseum
22
The Artist's Son Holger at the Age of Ten1856 · Statens Museum For Kunst
23
Emilie Mathilde Roed, f. Kruse, kunstnerens hustru1871 · Statens Museum For Kunst
24
The Choir of St. Bendt's Church, Ringsted1829 · Sorø Art Museum
25
Olive Grove from Tivoli near Rome1839 · Nivaagaards Malerisamling
26
Klosteret San Lorenzo fuori le mura i Roma1837 · Narodni muzej za umetnost, arhitekturo in dizajn
27
Ribe Cathedral1836 · Statens Museum For Kunst
28
The Temple of Hercules at Cori1838 · Statens Museum For Kunst
29
The Temple of Hera at Paestum, Italy1838 · Statens Museum For Kunst
30
A View of Casamicciola, Ischia1838 · Statens Museum For Kunst
31
The Market Place in Priverno1838 · Statens Museum For Kunst
32
The Interior of Ribe Cathedral1836 · Statens Museum For Kunst
33
Udsigt mod Roskilde fra et husmandssted1835 · Statens Museum For Kunst
34
Street in Roskilde. In the Background the Cathedral1836 · Statens Museum For Kunst
35
From Collin's Garden in Copenhagen1833 · Nationalmuseum
36
The Coast at Hellebæk. Study1850 · Nationalmuseum
37
La Scala Santa at the Monastery San Benedetto near Subiaco1857 · Nivaagaards Malerisamling
38
Scene from the Garden of the Villa Borghese in Rome1839 · Nivaagaards Malerisamling
39
Selecting Trees for FellingNivaagaards Malerisamling
40
A Bearded Man. StudyNationalmuseum
41
Italian CloisterNivaagaards Malerisamling
42
Drawn Study for Scene from the Garden of the Villa Borghese in Rome
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
7 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Jørgen Roed | Slike iz tega seznama |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 24 | Kunstnerens mormoder, Charlotte Bartholin, Industrimanden og politikeren I.C. Drewsen |
 Nationalmuseum |
Stockholm | 7 | Portrait of Colonel von Darcheus, Miss Ida Wilhelmine Trock, Portrait of Ane Elisabeth (Elise) Gurlitt, né Saxild (1817-39) |
 Nivaagaards Malerisamling |
Nibe | 5 | Olive Grove from Tivoli near Rome, La Scala Santa at the Monastery San Benedetto near Subiaco, Scene from the Garden of the Villa Borghese in Rome |
 Narodni muzej za umetnost, arhitekturo in dizajn |
Oslo | 2 | Portrait of Ludvig Holberg. Copy after Johan Roselius, Klosteret San Lorenzo fuori le mura i Roma |
 Hirschsprung Collection |
Kopenhagen | 1 | Interior. Ribe Cathedral |
 Oslo Museum |
Oslo | 1 | Andreas Munch |
 Sorø Art Museum |
Sorø | 1 | The Choir of St. Bendt's Church, Ringsted |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
In this 1828 portrait, we are invited into a private, somber space occupied by an elderly woman. The composition is an intimate bust-length study, presented within an oval format that focuses our attention entirely on her character. There is a profound stillness here. The subject gazes out with a calm, steady expression, her eyes carrying a hint of melancholy that suggests a lifetime of endurance. She is framed against a…
In this 1834 oil portrait, we are invited to meet Colonel von Darcheus through a gaze that is both steady and deeply experienced. The subject is presented in a bust-length composition, his body turned slightly to the right while his eyes remain fixed upon us. There is a quiet gravity in his expression, a sense of stoicism that seems to emanate from the fine lines etched into his skin. The…
The room feels quiet, held in a stillness that only a formal portrait can command. An elderly gentleman, I.C. Drewsen, sits with a quiet dignity, his gaze directed slightly away from the viewer toward an unseen horizon. He is a man of substance, his presence anchored by the heavy, dark velvet of his frock coat and the crisp, stark white of his high collar. The light enters from the upper…
The oil portrait titled Emilie Mathilde Roed, f. Kruse, kunstnerens hustru was painted by Jørgen Roed in 1871. The subject of this work is Emilie Mathilde Kruse, a woman who shared a life with the artist. They were once engaged, and their union was formalized when they married on 22 May 1842. This painting captures her long after those early years of courtship.
In this 1881 oil on canvas, we find ourselves in the presence of Caroline Amalie Meldahl, née Ræder. The portrait, painted by Jørgen Roed, captures a woman of significant social standing, a chamberlainess whose very posture commands the space around her. She is positioned centrally, her hands clasped in a gesture of composed restraint. The lighting, soft and directional from the upper left, carves her features out of the shadows,…
Kunstnerens mormoder (1828), Statens Museum For Kunst, Kopenhagen. Zatem sledeta Portrait of Colonel von Darcheus (1834) in Charlotte Bartholin (1836).
20 let: delo Kunstnerens mormoder iz leta 1828, Jørgen Roed pa je bil/a rojen/a leta 1808.
Kunstnerens mormoder, Portrait of Colonel von Darcheus, Charlotte Bartholin, Industrimanden og politikeren I.C. Drewsen, The Marine Painter Emil Wilhelm Normann in his Uniform as a Naval Officer, Portræt af en ung pige, Kammerherreinde Caroline Amalie Meldahl, f. Ræder, Ellen Roed, f. Jensen, kunstnerens moder, A Girl with a Basket of Fruits in Amtsprovst i Sorø, senere biskop i Århus, P.H. Mønster. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 42 del avtorja Jørgen Roed, datiranih od 1828 do 1881.
Večini v Statens Museum For Kunst (Kopenhagen), Nationalmuseum (Stockholm) in Nivaagaards Malerisamling (Nibe). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1830s: 20 od 42 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of Colonel von Darcheus.
Na tej strani je najstarejše delo iz Kunstnerens mormoder (1828) in najstarejše iz Kammerherreinde Caroline Amalie Meldahl, f. Ræder (1881).
Woman (6), Portrait (4) in Man (3), na 42 delih na tej strani.
Oil On Canvas, za 6 od 42 del na tej strani.
Danish golden age, glede na originala na tej strani.
Kunstnerens mormoder, Charlotte Bartholin in Industrimanden og politikeren I.C. Drewsen: v muzeju Statens Museum For Kunst, Kopenhagen se nahaja 24 del z te strani.
Jørgen Roed (1808–1888) predstavlja pomembno figuro v živopletnem tapisu danske umetnosti 19. stoletja, ki je posebejly poznan po svojih gančih prikazih vsakdanje življenja in izstopajočih portretih. Rodil se je v Ringstedu na Danskem, v družini Pederja Jørgensena Roeda in Elle Hansdatter, njegovo zgodnje obdobje pa je bilo tesno prepleteno z kmetijskimi tradicjami – njegov oče je bil član lokalnega councila, hkrati pa se je ukvarjal v kmetijstvu in destiliranju. Ta globoka povezanost s praktično realnostjo danske družbe je globoko vplivala na njegovo umetniško vizijo ter oblikovala njegovo sposobnost, da z izjemno podrobnostjo zajame niansno človeške interakcije in lepoto naravnega sveta.
Roedova umetniška pot se je začela pod mentorstvom učitelja J.J. Fyahna, kar je bil skromen začetek, ki je v njem vzbudil do življenja strast do risanja in slikarstva. Njegovi starši so prepoznali njegov talent in mu leta 1822 zagotovili mesto na Kralijski akademii likovnih umetnosti v Kopenhagahni, kjer je prejel formalno usposobljenost pri spoštovanih umetnikih, kot je bil Hans Hansen (oče Constantina Hansena) in kasneje Christoffer Wilhelm Eckersberg – ključni vpliv, ki je oblikoval Roedov pristop k kompoziciji, barvi in prikazu človeške oblike. To obdobje ni označalo le njegovega umetniškega razvoja, temveč tudi vzpostavitev trajnih prijateljstev s sošolci, vključno z Eckersbergovim sinom, kar je prispevalo k dinamičnemu kreativnemu okolju, ki je definiral "zlato dobo" danske slikarstva.
Roedova zgodnja kariera je bila zaznamovana z revirnim študijem vzpostavljenih tehnik, pri čemer se je sprva osredotočal na kopiranje del mojstrov, kot je bil Raphael. Vendar pa se je hitro izkazal s svojo sposobnostjo, da te reprodukcije prepetel v živahna opazovanja, polna vitalnosti. Njegove prve izpostave na razstavi v Charlottenborgu so pokazale rastjo samozavesti in nastajajoč stil – mešanico realizma in senzibilnosti, ki je postala značilnost njegovih del. V 30. letih je preživel čas v Italiji, kjer se je potopil v krajišča in umetniške tradicije te regije, s čimer je še dodatno izpilil svoje veščine in razširil tematiko svojega ustvarjanja.
Ključna preobratnica v Roedovi karieri je bila njegova zveza z Hansom Hansenom, v čemur je pogosto obiskoval njegov studio. To mentorstvo mu je prineslo neprecenljivo izkušnjo v portretiranju, žanru, ki je postal eden njegovih najbolj slavnih dosežkov. Vpliv Eckersberga, v kombinaciji s praktičnimi lekcijami, ki jih je pridobil od Hansena, je Roedu omogočil razvoj prepoznavnega stila – značilnega si je natančno opazovanje podrobnosti, atmosfere in sposobnost zajema esence subjektov z natančnostjo in empatijo.
Roedova umetniška produkcija je obsegala širok nabor tem, vendar je posebej prepoznan po svojih očaritelnih žanrskih slikah. Te scene iz vsakdanje življenja – ki prikazujejo kmetje, kako negujejo svoja polja, ribarje, ki se vračajo iz morja, ali družine, z gathered around hearth (z gathered around hearth) ob ognju – ponujajo intime vpoglede v ritme in običaje kmečke Danske. Njegove kompozicije so pogosto prepojene z občutkom tihe dostojnosti in nenaznanega lepote, kar odraža globoko naklonjenost preprostim uživanjemjo podeželskega življenja.
Poleg žanrskih slik je Roed izstopal tudi kot portretist. Njegovi portreti zajamejo ne le fizično podobo, temveč tudi osebnost in značaj njegovih subjektov – od prestižnih gospodov do skromnih vasičanov. Imel je izjemno sposobnost izražanja čustev skozi subtilne geste in izrazi, s čimer je ustvarjal slike, ki so vizualno očarljive in psihološko globoke. Izpostavljeni primer je "Valdemar Hjartvar Købke", portret njegovega brata, ki prikazuje Roedovo tehnično znanje in talent za zajemanje družinskih podob.
Roedova umetniška dediščina je trdno utrjena v zbirkah znamenitih muzejov po celotni Danski, vključno z Narodno galerijo Danske in Muzejem likovnih umetnosti v Horsensu. Njegove slike ponujajo dragocen oken v dansko družbo 19. stoletja, ki nam daje vpogled v njeno kulturo, tradicije in vrednote. Dela, kot je "Scene iz Villa Borghese" (1839), ponujajo dokaz njegovega mojstrovstva pri arhitekturnih podrobnostih in romantičnem realizmu, medtem ko "Ulica v Roskildeju s katedralo v ozadju" demonstrira njegovo sposobnost zajema atmosfere in lepote danske krajine.
Roedov prispevek k danski umetnosti je nepodporno dokazljiv. Bil je ključna figura zlate dobe danske slikarstva, ki je personificirala njene ideale realizma, senzibilnosti in narodnega ponosa. Njegova dela še vedno navdušujejo zaradi svoje tehnične dovršenosti, čustvene globine in nečasenosti, kar mu zagotavlja mesto med najslavnejšimi danskimi umetniki.
Za več informacij o življenju in delu Jørgena Roeda si lahko ogledate naslednje vire:
