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6 najbolj znanih slik umetnika Matthias de Visch, galerijska izbira
Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 6 del v našem katalogu avtorja Matthias de Visch
Kratek opis
Med vsemi originali, ki jih je pustil Matthias de Visch, je najbolj znan Portrait of a Girl (1702), ki se nahaja v kolekciji Groeningemuseum, Bruge. Takoj za njima sta Portrait of Bishop Van Susteren (1740) in Charles of Lorraine as Patron of the Arts (1762). Naš katalog vsebuje 6 del umetnika Matthias de Visch; galerija je ohranila 6 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
1701 – 1765, Reninge
Največ del: Groeningemuseum
10 najboljših slik umetnika Matthias de Visch: izbira galerije
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Muzeji, ki hranijo originala umetnika Matthias de Visch
2 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga Matthias de Visch | Slike iz tega seznama |
|---|---|---|---|
 Groeningemuseum |
Bruge | 5 | Portrait of a Girl, Portrait of Bishop Van Susteren, Charles of Lorraine as Patron of the Arts |
 Museum Catharijneconvent |
Utrecht | 1 | Portrait of Johannes Bagelaar (1696-1766), minister in Sluis (Zeeland) |
Matthias de Visch desetletje za desetletjem: originali, ki definira vsako od njih
Slikorstva po desetletjih
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
1750s
Portrait of Johannes Bagelaar (1696-1766), minister in Sluis (Zeeland)
Starost 49 – 58
2 del v tem desetletju
Vprašanja zbirateljev o slikah umetnika Matthias de Visch
Za katero delo je Matthias de Visch najbolj znan/a?Razkriti odgovor
Portrait of a Girl (1702), Groeningemuseum, Bruge. Zatem sledeta Portrait of Bishop Van Susteren (1740) in Charles of Lorraine as Patron of the Arts (1762).
Koliko slik je pustil Matthias de Visch?Razkriti odgovor
Naš katalog vsebuje 6 del avtorja Matthias de Visch, datiranih od 1740 do 1762.
V katerih muzejih so razložena remek dela umetnika Matthias de Visch?Razkriti odgovor
Večini v Groeningemuseum (Bruge) in Museum Catharijneconvent (Utrecht). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V katerih letih je Matthias de Visch naslikal svoja najbolj znana dela?Razkriti odgovor
V obdobju 1750s: 2 od 6 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of Johannes Bagelaar (1696-1766), minister in Sluis (Zeeland).
Kakšna sta prva in zadnja znana originala umetnika Matthias de Visch?Razkriti odgovor
Na tej strani je najstarejše delo iz Portrait of Bishop Van Susteren (1740) in najstarejše iz Charles of Lorraine as Patron of the Arts (1762).
Katera dela umetnika Matthias de Visch so razstavljena v muzeju Groeningemuseum?Razkriti odgovor
Portrait of a Girl, Portrait of Bishop Van Susteren in Charles of Lorraine as Patron of the Arts: v muzeju Groeningemuseum, Bruge se nahaja 5 del z te strani.
Matthias de Visch: življenje in delo
Early Life, Family and Training
Matthias de Visch enters the historical record on 22 March 1701 in Reninge. His early years are defined by the disciplined environment of a studio in Bruges. There, he becomes a pupil of Joseph van den Kerckhove, absorbing the technical foundations required for a career in history painting and portraiture.
The training moves beyond the borders of the Southern Netherlands. Seeking a broader perspective, Matthias de Visch travels to Paris and then to Italy. These years abroad are spent studying the antique and the works of the great masters, a period of intense observation that shapes his developing hand. He returns to Bruges in 1732, bringing with him the influence of these major European centers.
Life in Bruges becomes more settled as the decade progresses. In 1737, he marries Petronilla Iweins. This personal milestone occurs as he establishes his presence in the city, transitioning from a student of the masters to a practitioner of his craft.
Artistic Career and Academy Leadership
By 1735, the focus shifts to his home in Bruges, where he begins giving art lessons. This period marks a transition from his own studies in Paris and Italy toward the formal instruction of others. His influence extends beyond his private studio as he becomes a central figure in the local art scene. In 1739, he helps drive the reopening of the Bruges Academy of Art. This institution becomes a primary engine for neoclassicism throughout the Southern Netherlands.
His leadership at the academy is long-lasting. From the reopening in 1739 until his death in 1765, he serves as its director. Under his guidance, the academy establishes itself as a pioneering force for the neoclassical movement in the region. His teaching and administrative presence shapes the direction of Flemish art instruction for decades.