Ažurirano: октобар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 22 dela Johan Salomon Val u našem katalogu
Ukratko
Od svih originala koje je Johan Salomon Val ostavio, najpoznatiji je Prinsesse Charlotte Amalie, Frederik IV's datter (1734), koji se nalazi u kolekciji Statens Museum For Kunst, Kopenhagen. Odmah za njima slede En olding med baret (1734) i Prinsesse Louise, Christian VI's datter (1756). Naš katalog sadrži 22 dela umetnika Johan Salomon Val; galerija je čuvala 22 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
The princess sits in a quiet, commanding stillness, her gaze meeting the viewer with a calm that speaks of high birth and practiced composure. She is draped in an abundance of heavy, shimmering fabrics that catch the light in a way that suggests both weight and luxury. A mantle, lined with the soft, pale fur of ermine, rests heavily across her arms and the seat of her chair, its texture…
A single light source strikes from the upper left, carving a face out of the darkness. The man’s skin is a map of deep lines and weathered textures, etched by time and gravity. His white beard flows like a frozen river, each strand rendered with a fine, meticulous brushstroke that catches the light. He wears a dark cap, a simple weight upon his head, while his eyes hold a quiet,…
The portrait presents a young woman of high nobility, positioned in a vertical three-quarter length composition. She is set against a dark, dramatic background that pushes her figure into the foreground through a sharp chiaroscuro effect. Her presence is defined by the heavy, voluminous folds of a silk gown and a crimson mantle lined with ermine. To her right, a crown rests upon a cushion, a deliberate placement that anchors…
In this 1727 portrait, we encounter Otto Kyhl, a man whose position within the Danish court is articulated through a striking tension between his role and his attire. He is presented in a three-quarter view, waist up, holding a glass of amber liquid that catches the light with a quiet translucency. There is a certain dignity in his expression, a composed presence that defies the typical caricatures of his profession.…
A somber, monochrome portrait captures an elderly man in profile, his features etched by time and quiet contemplation. The composition focuses tightly on the head and shoulders, isolating the subject against a dark, undifferentiated void. Light enters from the upper left, a dramatic chiaroscuro that carves the contours of a high forehead and a weathered ear, while casting the back of the head into deep shadow. This intense contrast creates…
Johann Salomon Wahl’s Self-Portrait, executed in 1755, functions as a formal record of the artist himself. This work belongs to the genre of self-portraiture, a category in which Wahl utilized his own likeness to navigate the social and professional expectations of the mid-18th century.
The portrait titled Gerhard Morell, Keeper of the Royal Danish Kunstkammer, presents us with the steady presence of Gerhard Heinrich Matthias Morell. He meets our gaze from the year 1765, a moment that coincides with his appointment as the keeper of the Kunstkammeret. There is a sense of settled authority in his expression, reflecting the significant responsibility he holds within the royal court. He exists here not merely as a…
Painting1738 · National Museum of Art, Architecture and Design
12
En falkejagt1734 · Statens Museum For Kunst
13
Christian VI1734 · Statens Museum For Kunst
14
Princess Charlotte of Denmark (1706-1782)?1752 · Royal Collection
15
Flodlandskab1734 · Statens Museum For Kunst
16
En harejagt1734 · Statens Museum For Kunst
17
Bakket landskab med bønderhuse. I baggrunden en sø1734 · Statens Museum For Kunst
18
Sofia Magdalena, 1700-1770, prinsessa av Brandenburg-KulmbachNationalmuseum
19
Kristian VI, 1699-1746, kung av Danmark och NorgeNationalmuseum
20
Kristian Ludvig II, 1683-1756, hertig av Mecklenburg-SchwerinNationalmuseum
21
Sofia Magdalena, Queen of DenmarkFinnish National Gallery
22
A Banquet at the Court of the German Emperor Charles VIStatens Museum For Kunst
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
6 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Johan Salomon Val | Slike iz ovog spiska |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 13 | Prinsesse Charlotte Amalie, Frederik IV's datter, En olding med baret, Prinsesse Louise, Christian VI's datter |
 Nationalmuseum |
Стокхолм | 4 | Gustava Karolina, 1694-1748, hertiginna av Mecklenburg-Strelitz hertiginna av Meckle, Sofia Magdalena, 1700-1770, prinsessa av Brandenburg-Kulmbach, Kristian VI, 1699-1746, kung av Danmark och Norge |
 National Museum of Art, Architecture and Design |
Oslo | 2 | Sophie Magdalene, Queen of Denmark-Norway, Painting |
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Okänd kvinna |
 Royal Collection |
London | 1 | Princess Charlotte of Denmark (1706-1782)? |
 Finnish National Gallery |
Helsinki | 1 | Sofia Magdalena, Queen of Denmark |
Izaberite deceniju da biste videli original koji je definiše.
In this 1727 portrait, we encounter Otto Kyhl, a man whose position within the Danish court is articulated through a striking tension between his role and his attire. He is presented in a three-quarter view, waist up, holding a glass of amber liquid that catches the light with a quiet translucency. There is a certain dignity in his expression, a composed presence that defies the typical caricatures of his profession.…
The princess sits in a quiet, commanding stillness, her gaze meeting the viewer with a calm that speaks of high birth and practiced composure. She is draped in an abundance of heavy, shimmering fabrics that catch the light in a way that suggests both weight and luxury. A mantle, lined with the soft, pale fur of ermine, rests heavily across her arms and the seat of her chair, its texture…
The portrait presents a young woman of high nobility, positioned in a vertical three-quarter length composition. She is set against a dark, dramatic background that pushes her figure into the foreground through a sharp chiaroscuro effect. Her presence is defined by the heavy, voluminous folds of a silk gown and a crimson mantle lined with ermine. To her right, a crown rests upon a cushion, a deliberate placement that anchors…
The portrait titled Gerhard Morell, Keeper of the Royal Danish Kunstkammer, presents us with the steady presence of Gerhard Heinrich Matthias Morell. He meets our gaze from the year 1765, a moment that coincides with his appointment as the keeper of the Kunstkammeret. There is a sense of settled authority in his expression, reflecting the significant responsibility he holds within the royal court. He exists here not merely as a…
Prinsesse Charlotte Amalie, Frederik IV's datter (1734), Statens Museum For Kunst, Kopenhagen. Slede En olding med baret (1734) i Prinsesse Louise, Christian VI's datter (1756).
45 godina: Prinsesse Charlotte Amalie, Frederik IV's datter datira iz 1734, a Johan Salomon Val je rođen/a 1689.
Prinsesse Charlotte Amalie, Frederik IV's datter, En olding med baret, Prinsesse Louise, Christian VI's datter, The Court Jester Otto Kyhl, En olding, Self-Portrait, Gerhard Morell, Keeper of the Royal Danish Kunstkammer, Gustava Karolina, 1694-1748, hertiginna av Mecklenburg-Strelitz hertiginna av Meckle, Okänd kvinna i Sophie Magdalene, Queen of Denmark-Norway. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 22 dela umetnika Johan Salomon Val, datiranih od 1712 do 1765.
Većinom u Statens Museum For Kunst (Kopenhagen), Nationalmuseum (Стокхолм) i National Museum of Art, Architecture and Design (Oslo). Tabela muzeja iznad sadrži njih sve.
U 1730s: 10 od 22 dela na ovoj stranici nastalo je tada, od čega je Prinsesse Charlotte Amalie, Frederik IV's datter.
Na ovoj stranici, najstarije delo je iz Okänd kvinna (1712), a najnovije iz Gerhard Morell, Keeper of the Royal Danish Kunstkammer (1765).
Man (5), Lace (3) i Woman (2), kroz svih 22 dela na ovoj stranici.
Oil On Canvas, za 4 od 22 dela na ovoj stranici.
Baroque i Rococo, sudeći po originalima na ovoj stranici.
Prinsesse Charlotte Amalie, Frederik IV's datter, En olding med baret i Prinsesse Louise, Christian VI's datter: Statens Museum For Kunst, Kopenhagen čuva 13 dela sa ove stranice.
Johann Salomon Wahl was born in 1689 in Chemnitz, within the Electorate of Saxony. His early years in this German city provided the foundation for a life spent observing the faces and social standings of others. He did not begin his formal training until much later, entering a period of study that lasted from 1705 to 1711.
During these years, he worked under the guidance of David Hoyer in Leipzig. Hoyer held the position of court painter in Leipzig, a role that likely shaped the technical precision Wahl would later bring to his own subjects. This apprenticeship provided the necessary discipline for a painter seeking to navigate the formal requirements of courtly life. He learned the mechanics of the craft in the studios of Leipzig before moving toward the professional opportunities that awaited him in the north.
After completing his training, Wahl settled in Hamburg. He spent his time there working as a portrait painter for the Holstein. His presence in the city was marked by this steady work before his path shifted toward the Danish court. In 1719, he was called to Denmark to begin working for the Danish royal family.
His position within the court grew as the years passed. When Christian VI ascended the throne in 1730, Wahl was appointed as court painter. This role brought him into the inner circles of royal life. By 1737, his responsibilities expanded beyond the canvas when he took over the administration of the Royal Collection.
Wahl was among the first artists in the North to adopt the new French styles of portraiture. His approach to the genre often prioritized a subject's social standing and position in the hierarchy over their individual personality. When painting the nobility, he focused on the markers of their status, creating a sense of formal presence through a meticulous and colorful technique. This method ensured that the sitter's rank was the most immediate takeaway for the viewer.
There was a noticeable shift in his hand depending on who sat before him. While his royal and noble commissions followed a strict, orderly logic, his portraits of those outside the nobility tended to be freer in style. In these instances, the brushwork and composition lacked the rigid formality applied to the court. He worked with a colorful and careful hand, often described as an omhyggelig, fargesterk stil, which allowed him to capture the textures and hues of his subjects with great precision.
