Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 105 del v našem katalogu avtorja Willem Maris
Kratek opis
Eenden, Willem Maris, c. 1880 - c. 1904 (1904) je slika avtorja Willem Maris, ki pritegne največ pogledov; original se nahaja v muzeju Rijksmuseum, Amsterdam. Nato se pogled smeri k The calves (1863) in Bulls on a Rocky Coast (1864). Med 105 dela umetnika Willem Maris v našem katalogu so ta 100 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The scene unfolds in Bulls on a Rocky Coast, a work painted by Willem Maris around 1864. This landscape captures a rugged moment along a sandy coastline, where the heavy presence of animals meets the vastness of the sky. The composition rests upon the quiet strength of the subjects as they navigate the uneven terrain of the shore.
In "Donkeys on the beach" by Willem Maris, a horizontally oriented landscape unfolds to reveal a quiet moment of rural coastal life. The scene begins in the foreground, where a grassy dune area dominates the view. Here, several donkeys gather, their forms grounding the composition amidst the undulating shapes of the dunes. The arrangement of these animals creates an immediate sense of presence, as if the viewer has just stumbled…
We are looking at Boys herding donkeys, a work by the Dutch painter Willem Maris. This piece dates to 1865, a period when the artist was refining his ability to capture the specific atmosphere of the Low Countries. It is a substantial canvas, measuring 90.3 x 138.0cm.
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The air feels heavy with moisture, a damp stillness that clings to the grass and the heavy coats of the cattle. In this meadow, the light does not simply shine; it filters through a thick, overcast sky, casting a soft, silvery glow over the landscape. A single white cow stands in profile, its form partially swallowed by the deep shadows of dense foliage and dark trees that crowd the right…
The scene opens on a damp polder, where the earth meets the sky in a soft, silvered blur. Several cows are scattered across the meadow, their heavy bodies anchored in the lush, green grass. Some graze in the foreground, their forms solid and tactile, while others recede into the distance, becoming mere shapes against the horizon. A single horse stands toward the right, a quiet addition to the pastoral rhythm.…
The scene unfolds in Ducks Alighting On A Pool, a work that captures a fleeting moment of movement and stillness. Here, the artist Willem Maris invites us to witness the quiet rhythm of nature as waterfowl descend toward the water's surface. The composition centers on these birds, their wings perhaps still catching the light as they settle into the tranquil environment of the woods.
The ferry1859 · Dordrechts Museum
12
Study after nature1863 · The Mesdag Collection
13
White cow at the ditch1877 · Amsterdam Museum
14
Ducks at the edge of the ditch1877 · Rijksmuseum
15
Landscape with Cows1884 · Rijksmuseum Twenthe
16
Meadow Landscape1884 · Groninger Museum
17
Farmer's Wife with Cattle near a Small River (Summer Day)1880 · Museum Boijmans Van Beuningen
18
Under the willows1884 · Amsterdam Museum
19
Ducks bear the water1884 · Amsterdam Museum
20
Cows at evening1884 · Kunstmuseum Den Haag
21
Duck heaven1885 · Kunstmuseum Den Haag
22
Cattle at a watering place1885 · Museum Boijmans Van Beuningen
23
Rowboat in a ditch.1882 · Rijksmuseum
24
Early morning1883 · Museum Boijmans Van Beuningen
25
Cow1887
26
Cows at a Pond1891 · Dordrechts Museum
27
Ducks in the Grass near a Ditch1890 · Museum Boijmans Van Beuningen
28
Summer1897 · Dordrechts Museum
29
Meadow with cows1895 · Rijksmuseum
30
Cow at water's edge1895 · Rijksmuseum
31
Landscape with ditch and cattle1900 · Centraal Museum
32
Cows in a Soggy Meadow, Willem Maris, 1860 - 19001900 · Rijksmuseum
33
Koeien, Willem Maris, 1880 - 19041904 · Rijksmuseum
34
Landscape With Cattle
35
A Summer Day At A Canal Near The Hague
36
Eendjes, Willem Maris, c. 1880 - c. 19071907 · Rijksmuseum
37
Witte eend met kiekens, Willem Maris, 1880 - 19101910 · Rijksmuseum
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White Cow, Willem Maris, c. 1880 - c. 19101910 · Rijksmuseum
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A Farmer's Wife With Grazing Cows
40
A Family Of Ducks
41
Winterlandschap, Willem Maris, c. 18751875 · Rijksmuseum
42
Milking TimeSaint Louis Art Museum
43
Cows at a Watering PlaceMuseum of Fine Arts Ghent (MSK)
44
River Landscape with CattleMuzej fine arts
45
Cattle By The River
46
Cows Watering In A Polder Landscape
47
Dutch Landscape
48
Cows In A Dutch Polder Landscape
49
A Dutch River Scene With Sailing Boats
50
Calves at a PondKunstmuseum Den Haag
51
Cows In A Pasture With Two Windmills
52
A View Of A Dutch Canal
53
Cows Near The Waterfront
54
Cattle Grazing
55
The View
56
Cows By The Waters' Edge
57
A Watering Cow
58
Ducks, Spring
59
Cows At Pasture
60
Cows In The Summer Sun
61
Watering Cows In A Polder Landscape
62
A Dutch Landscape
63
Cattle Grazing at the Water's EdgeMinneapolis Institute of Art
64
Cows In A Polder Landscape
65
Cows Grazing On The Waterfront
66
A Summer Landscape With Cattle And Windmills
67
Watering The Cows
68
Ducks And Their Ducklings
69
Ducks And Ducklings On A Riverbank
70
Copy After P. Potter
71
Portrait Of A Woman
72
Cows In Dutch Polder Landscape
73
Company Of Fishermen
74
A Cow At Pasture
75
Ducks In A Meadow
76
Watering Cows
77
Tending The Cows
78
A Cow Near The Waterfront
79
Ducks By A Ditch
80
The Water's Edge
81
Landscape With Cattle
82
Cows In A Wooded Landscape
83
Cattle
84
Ducks
85
Chicken In A Stable
86
Ducks In A Pond
87
A Herdboy With Donkeys On Scheveningen Beach
88
Young Girl In A Landscape
89
Ducks On The Waterfront
90
Cattle In A Sunlit Glade
91
A Polder Landscape
92
Landscape With Cattle And WindmillsTe Whare O Rehua Sarjeant Gallery
93
Boy With A Pike
94
Milking Time
95
Portrait Of A Girl
96
Ducks In The Grass
97
Dead Bird
98
A Calf Drinking From A Pond
99
A Family Of Ducks By The Water
100
A Silver StreamScottish National Gallery
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 Willem Maris | Slike iz tega seznama |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 14 | Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows |
 Kunstmuseum Den Haag |
Haag | 5 | Donkeys on the beach, Boys herding donkeys, Cows at evening |
 Amsterdam Museum |
Amsterdam | 4 | Feeding of the Calves, White cow at the ditch, Under the willows |
 Museum Boijmans Van Beuningen |
Rotterdam | 4 | Farmer's Wife with Cattle near a Small River (Summer Day), Cattle at a watering place, Early morning |
 Dordrechts Museum |
Dordrecht | 3 | The ferry, Cows at a Pond, Summer |
 The Mesdag Collection |
Haag | 2 | The calves, Study after nature |
 Groninger Museum |
Groningen | 2 | Bulls on a Rocky Coast, Meadow Landscape |
 National Gallery |
London | 1 | Ducks Alighting On A Pool |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
The air feels heavy with moisture, a damp stillness that clings to the grass and settles over the landscape. In this pastoral scene, two calves occupy the center of the frame, their black and white forms providing a sharp contrast against the muted, earthy tones of the countryside. They stand amidst a landscape of weathered textures, where the coarse hair of the animals meets the rough, irregular bark of nearby…
The air feels heavy with moisture, a silver-grey veil that clings to the meadow and softens the very edges of existence. In this quiet, rural moment, a figure tends to the cattle, their forms emerging from a soft, atmospheric background. The light does not merely strike the scene; it seems to seep through a thick, Atlantic cloud cover, casting a gentle radiance upon the backs of the animals. Everything is…
A single cow occupies the center of this landscape, its front legs submerged in the shallow, dark water of a ditch. In the background, the quiet labor of a second cow being milked suggests a rhythmic, pastoral existence. The scene is defined by the dampness of the Dutch countryside, where the boundary between earth and water is blurred by moisture and light. The composition relies on organic lines and the…
The scene unfolds in a soft, damp corner of the Dutch landscape, where the boundary between water and earth feels perpetually moist. Two ducks move through the tall grass, their presence grounding the composition in a moment of natural stillness. Nearby, small chicks navigate the greenery, their tiny forms adding a sense of life and movement to the tranquil setting. A single bird perches on a branch at the center,…
A white duck with seven chicks by the ditch side.
Eenden, Willem Maris, c. 1880 - c. 1904 (1904), Rijksmuseum, Amsterdam. Zatem sledeta The calves (1863) in Bulls on a Rocky Coast (1864).
60 let: delo Eenden, Willem Maris, c. 1880 - c. 1904 iz leta 1904, Willem Maris pa je bil/a rojen/a leta 1844.
Eenden, Willem Maris, c. 1880 - c. 1904, The calves, Bulls on a Rocky Coast, Donkeys on the beach, Boys herding donkeys, Feeding of the Calves, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895, Meadow with Cows, Cows On The Water's Edge In A Polderscape in Ducks Alighting On A Pool. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 105 del avtorja Willem Maris, datiranih od 1859 do 1910.
Večini v Rijksmuseum (Amsterdam), Kunstmuseum Den Haag (Haag) in Amsterdam Museum (Amsterdam). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1880s: 12 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa Feeding of the Calves.
Na tej strani je najstarejše delo iz The ferry (1859) in najstarejše iz Witte eend met kiekens, Willem Maris, 1880 - 1910 (1910).
Animals (24), Landscape (15) in Dutch countryside (9), na 100 delih na tej strani.
Oil On Canvas, za 8 od 100 del na tej strani.
Hague school in Impressionism, glede na originala na tej strani.
Eenden, Willem Maris, c. 1880 - c. 1904, Cow beside a Ditch, Willem Maris, c. 1885 - c. 1895 in Meadow with Cows: v muzeju Rijksmuseum, Amsterdam se nahaja 13 del z te strani.
Stopiti v krajino, ki jo je naslikal Willem Maris, pomeni vstopiti v svet, kjer zrak sam ima težo, vlažnost in globok občutek tišine. Maris, rojen v Denvagu 18. februarja 1844, je sčasoma postal steben kamen Haagske šole – gibanja, ki je zagovarjalo svetlobne krajine in jim podarilo neprepodobno občutljivost za atmosferske pogoje. Medtem ko so mnogi njegovi sodolavniki skušali dokumentirati neumne podrobnosti nizozemske podeželja, je Maris iskal nekaj veliko bolj efemerno. Slavno je razglasil svoj umetniški moto: “Ne slikam krav, temveč učinke svetlobe.” Ta edinstvena filozofija je skromne predmete njegovih platn—pastjo krav, vlažne travnike in žalostno zavijene vrbe—preoblikovala v posrednike božanske, zamrzljajoče sijočnosti.
Marisova povezanost z naravnim svetom ni bila le akademska; bila je globoko osebna in korenita v njegovih najstarejših spominih. Še dolgo preden je obvladal čopič, je preživel nešteto ur pri opazovanju ritmov travnika, sedeč med živalmi tako pred in po šolskih urah. Ta intimna bližina z vedenjem in anatomijo živali mu je zagotovila instinktivno temelj, ki bo kasneje definiral njegovo delo. Njegovo umetniško pot je še bogatejšo dopolnila družinska tradicija ustvarjalnosti, saj so bili tudi njegovi bratje, Jacob in Matthijs Maris, izjemni slikarji. Ta skupna strast do krajine je spodbudila okolje raziskovanja in medsebojne usmerjanja, ki je pomagalo oblikovati samo bistvo estetike Haagske šole.
Razvoj Marisove tehnike odraža globoko zrelost vizije, ki se premika od doslovnega k lirskemu. V zgodnjih fazah svoje kariere je njegovo del zaznamovala disciplinirana osredotočenost na natančno reprodukcija okolice. V tem obdobju je uporabil svojo akademsko izobrazbo z Haagške akademije umetnosti za študijo anatomije živali z neumrtno pozornostjo, s čim je zagotovil, da je vsaka krivina in mišica njegovih motivov prikazana z natančnostjo. To obdobje natančnega realizma je močno vplivalo mentorstvo pod slikarjem krav Pieter Stortenbeker, ki je Marisu zagotovil ključne naročila, kar mu je omogočilo delo na prostem in izpiljeno prevzemanje surove realnosti nizozemskih polderjev.
Ko se je njegovo znanje sredstva poglobilo, je Maris začel preseagati zgolj predstavljanje. Odmaknil se je od togih tradicij svojih predhodnikov, sprejel drznejše barvne palete in uporabljal subtilne gradacije za izražanje spreminjajočih se nians svetlobe—prehod, ki ga je povezoval z razvijajočim se duhom impresionizma. Okoli leta 1880 je njegov slog doživel končno, zapiraajočo transformacijo. Njegov čopič je postal bolj ohlajen in ekspresiven, pri čemer je uporabljal impasto, da bi ustvaril platna, polna teksture. V tem poznejšem delu se meja med zemljo in nebom pogosto razvije v nepretrlo, srebrno meglo, kjer svetloba ne pada le na krajino, temveč se zdavi, kot bi izvirala iz nje.
Zgodovinski pomen Willema Marisa leži v njegovi sposobnosti, da najde vzvišeno v običajnem. Bil je mojster tistega, čemur se pogosto reče "siva svetloba"—tistega subtilnega, monokromatskega spektra srebrne, biserne in kamnate sive barve, ki opredelja nizozemski zrak. Skozi njegovo delo so vlažna, meglična območja Nizozemske vzpostavljena na raven poetske veličastnosti. Njegove slike ne dokumentirajo le razgledov; one prevajajo sam dih Nizozemske na platno, zajemajoč način, kako svetloba prežira skozi težko atlantsko oblačnost, da osvetli mokro travnico ali mirni kanal.
Končno se Marisov prispevek k umetnostni zgodovini meri z njegovo sposobnostjo, da prek atmosfere vzbudi čustva. Njegova dediščina ostaja vrezana v način, kako dojemamo lepoto oblačnega neba in mirno dostojnost podeželskega življenja. Skozi njegove oči vidimo, da:
