Dosije dela: Dead Wildfowl by Jacob Biltius

Jacob Biltius, Dead Wildfowl (1674), Statens Museum For Kunst. Javno dobro. Pogledajte ovo platno pod promenljivim svetlom: crtež, pravu boju ispod vernica, čisti pigment

Tehnički list o delu Dead Wildfowl

Umetnik: Jacob Biltius originaluniqueart.com/sr/artists/jacob-biltius/
Datumi umetnika: 1633 – 1681
Slikano: 1674
Medijum: Oil On Canvas
Prvobitne dimenzije: 79.5 x 61.0cm
Pokret: Baroque Dramatic, theatrical pictures using deep shadow and strong diagonals to pull you into the action.
Period: Early Modern
Održano na: Statens Museum For Kunst originaluniqueart.com/sr/museums/statens-museum-for-kunst-kopenhagen_sr/
Artistic style: Dutch Golden Age, Realistic
Notable elements or techniques: Chiaroscuro, meticulous brushwork
Subject or theme: Still life, memento mori, dead game

Autorska prava Ovo delo je u javnom vlasništvu. Jacob Biltius je preminuo/la 1681. godine; autorska prava traju 70 godina nakon smrti umetnika, pa su prestala 1751.

Dead Wildfowl — Jacob Biltius

Koje su dimenzije?

Originalne dimenzije su 80 × 61 cm (visina × širina), prikazane ovde pored odrasle osobe prosečne visine.

Kada je ovo naslikano?

1630
1640
1650
1660
1670
1680

Gornji red: godine. Donji red: starost umetnika na početku i na kraju svakog perioda — 0 u rođenju, 48 u smrti.

Naslikano kada je umetnik imao 41 godina. Umetnik je doživeo 48. 8 od ukupno 10 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.

Osenčeno: životni vek umetnika Jacob Biltius (1633–1681) ▲ ovo delo, 1674 svaka datirana slika, deceniju po deceniju

Uporedi sa

Dead Birds, 1670 originaluniqueart.com/sr/art/dead-birds-by-jacob-biltius/
Snip, hanging, 1663 originaluniqueart.com/sr/art/snip-hanging-by-jacob-biltius/
A Dead Hare, 1670 originaluniqueart.com/sr/art/a-dead-hare-by-jacob-biltius/

Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.

Još dela koja se mogu postaviti pored ovog: originaluniqueart.com/sr/art/similar/dead-wildfowl-by-jacob-biltius/

Boje

Izmereno na osnovu slike

Glavna boja

Phthalo Green #2b2925

Katalogizovana paleta

#2B2925
#524235
#B4AD97
#7C705C

Ove boje unutar cele umetnikove palete Pronađite druge slike prema boji

Paleta: Earthy Dominantna grupa boja na slici.
Naziv primarne boje: Phthalo Green
Intenzitet: Monochromatic Koliko su boje zasićene i raznolike, od jedne prigušene nijanse do mnoštva jarkih tonova.
Kontrast: Serene Razlika u svetlini i zasićenosti boja širom slike.
Harmonija: Strong Color Unity Koliko se dobro boje uklapaju, od kontrastnih do potpuno ujedinjenih.
Osvetljenost: Deep_shadow Koliko je slika u celini svetla ili tamna, od dubokih senki do najsvetlijih tonova.
Zasićenost: Muted Koliko su boje čiste i snažne, od skoro sivih do potpuno živopisnih.

Dead Wildfowl — Jacob Biltius

Identification of Dead Wildfowl by Jacob Biltius

Jacob Biltius rendered Dead Wildfowl in oil on canvas. The work dates to about 1674. It measures 79.5 x 61.0cm. A heavy silence rests within the frame, held by the stillness of the subjects.

The composition captures a collection of birds arranged upon a stone ledge. One large bird hangs suspended from above by its feet, a central weight in the vertical space. Feathers, soft and cream-colored, contrast against the dark, arched niche of the background. The muted palette relies on deep browns and grays, punctuated by the small, sharp red of berries and dried blood. Every texture, from the downy plumage to the cold sheen of the stone, is rendered with meticulous precision.

Shadows pool in the corners of the arched alcove. Light catches the edges of hunting equipment and the organic curves of the birds' bodies. The scene remains fixed in a quiet, somber light. A single feather rests in the dark.

Composition and Visual Elements

The composition is vertically oriented, pulling the eye through a heavy, downward movement. A large bird hangs suspended from above by its feet, its weight anchored against the dark, arched niche of the background. Below this central figure, other birds rest upon a cold stone ledge. The arrangement creates a sense of gravity and stillness. Light catches the soft white and cream of the feathers, contrasting against the deep shadows of the alcove.

A muted palette of deep browns, blacks, and grays defines the scene. Small accents of red appear in the berries and the stains of blood, providing the only breaks in the somber tones. The textures are meticulous, from the downy softness of the plumage to the hard, smooth sheen of the stone. Every line traces the organic curves of the birds' bodies against the geometric arc of the architecture. This stillness functions as a memento mori, a quiet reminder of the cycle of life and death.

The Artist and His Specializations

Born in The Hague, Jacob Biltius dedicated his brush to the quiet stillness of the object. He moved through the artistic centers of the Dutch Republic and Flanders, finding a home in cities like Amsterdam, Maastricht, and Antwerp. His hand was practiced in the art of the kitchen and the hunt, capturing the heavy weight of game and the textures of a larder. In the 1672–1673 guild year, he was admitted to the Antwerp Guild of St Luke, marking his place among the masters of the region.

Between 1663 and 1677, Biltius became a pioneer of the trompe-l'œil. He sought to trick the eye, creating the illusion of three-dimensional life upon a flat surface. His compositions were not merely depictions but visual puzzles of depth and shadow. He mastered the way light rests upon a surface, whether it be the sheen of a fish or the soft down of a bird. He worked with a precision that turned the mundane into a tactile reality.

His specialty lay in the meticulous rendering of nature. He understood the specific gravity of a plucked bird and the way a shadow settles against a stone ledge. Through his focus on still life, he turned the fleeting moment into a permanent, silent presence. The world he painted remains held in a breathless, unmoving pause.

Umetnik

Jacob Biltius

Rođen/a u The Hague, Netherlands

The Life and Travels of Jacob Biltius

Jacob Biltius was a Dutch still life painter born in The Hague. He began his artistic training in The Hague, studying under the French painter Carel Hardy around 1651, and later trained with Pieter de Putter, who was known for his fish still lifes. His career saw him active in various locations, including The Hague, Amsterdam, Maastricht, Antwerp, Leeuwarden, and Bergen op Zoom. In 1660, he was admitted to the Confrerie Pictura.

Biltius married Adriana Proot van der Jeucht in 1653, and they had eight children, including two sons, Cornelis and Bartholomeus, who both became painters. His movements took him from Amsterdam to Maastricht, and eventually to Flanders, where he settled in Antwerp. While living in Antwerp, he and his wife were members of a secret society of local Calvinists known as de Consistorie van de Brabantsche Olijfberg. He was admitted to the Antwerp Guild of St Luke in the 1672–1673 guild year. He eventually moved to Bergen op Zoom, where he died.

Artistic Specializations and Technique

The work of Jacob Biltius is characterized by his focus on still life subjects. He was specifically known for his:

Between 1663 and 1677, Biltius created many trompe-l'œil compositions, acting as a pioneer in the creation of the illusion of three-dimensional objects. His works are noted for a very accurate and precise representation of nature. Some of these compositions were of a large size, which contributed to their realism and illusionistic impact.

Muzej

Statens Museum For Kunst

Izložbeno mesto Kopenhagen, Danska

Istorija i poremeo Statens Museum For Kunst

Poreme Statens Museum For Kunst seže duboko u prošlost, prateći liniju privatnih umetničkih kolekcija koje su gomilali danski monarhi. Ova kraljevska imovina postavila je temelje za ono što će postati najveći umetnički muzej u Danskoj. Iako su koreni institucije neraskidivo povezani sa ovim suverennim kolekcijama, njeno formalno osnivanje obeležavaju dva značajna datuma. Muzej je osnovan 1824. godine, a kasnije, 1896. godine, stekao svoj sadašnji identitet. Ova evolucija odražava prelazak iz sfere privatnog kraljevskog uživanja u javnu misiju. Osnovna svrha bila je pružanje pristupa umetnosti široj publici, pomerajući ova blaga iz samoće palata u zajednički, deljeni prostor.

Fizičko prisustvo muzeja definiše njegova neo-klasična arhitektura. Projektovana od strane Christiana Lassena 1894. godine, zdanje zauzima centralno mesto u Kopenhagenu, u Danskoj. Njegova impresivna fasada, koju karakterišu visoke kolone i zamršeni detalji, odražava arhitektonske aspiracije kasnog 19. veka. Ova struktura je zamišljena kao veličanstven građevinski prostor, trajni dom vizuelne istorije nacije. Unutar ovih zidova, prelazak iz privatne sfere u javni domen je opipljiv, dok sama arhitektura teži da odoli i slavi nasleđe dela koja čuva.

Raznolika i sveobuhvatna umetnička kolekcija

Kolekcija obuhvata više od 260.000 dela, prateći liniju kreativnosti koja traje sedam vekova. Ova imovina uključuje evropsku umetnost od Renesanse pa sve do današnjice, nudeći neprekidan pogled na promene estetike. Unutar ovih zidova, nalazimo ranosrednjovekovne iluminirane manuskripte koji prethode modernijim pokretima. Muzej pridaje veliki značaj danskoj i nordijskoj umetnosti, osiguravajući da regionalni identitet ostane centralni deo iskustva posetioca.

Sam obim kolekcije, koja sadrži 240.000 umetničkih dela, omogućava duboko proučavanje načina na koji se umetnički izraz razvijao kroz vekove. Prisustvo dela iz proteklih sedam vekova pruža osećaj istorijske kontinuiteta. Svako delo predstavlja fizičko prisustvo, od delikatnog detalja drevnih manuskripata do ekspansivnih platana kasnijih era. Širina kolekcije osigurava da evolucija forme i boje bude uvek vidljiva.

Testament Eudamida, 1653

Portret čoveka, 1575

Porodica Nathanson, 1818

Svadba, 1891

Remek-delo i istaknuti umetnici

Kolekcija obuhvata širinu evropske umetnosti od Renesanse do danas. Tu se nalaze veliki majstori poput Mantegne i Rubensa, uporedo sa promenljivom estetikom kasnijih vekova. Dansko Zlatno doba ostaje centralni stub kolekcije, nudeći specifičnu jasnoću forme i svetlosti. Unutar ovih zidova, radovi Matissea i Deraina predstavljaju značajan fokus, naročito u načinu na koji se boja i struktura međusobno prepliću na platnu.

Dijalog između istorijskih tradicija i savremene ekspresije neprestano traje. Značajna dela Edvarda Muncha i Vilhelma Hammershøija pozivaju na tiho kontempliranje čovekovog stanja. Dok starija platna govore o utemeljenim nasleđima, uključivanje umetnika kao što su Abramović, Danh Vo i duo Elmgreen & Dragset unosi tenziju moderne ere u isti prostor. Ova bliskost omogućava direktno poređenje klasičnih tehnika prošlosti i eksperimentalne prirode savremene umetničke prakse.

Radost života (studija), oko 1905. – Henri Matisse

Pierrot, oko 1915. – Amedeo Clemente Modigliani

Testament Eudamida, 1653 – Nicolas Poussin

Portret čoveka, 1575 – El Greco

Vodič za Jacob Biltius: nastavite sa istraživanjem

Umetnik Jacob Biltius originaluniqueart.com/sr/artists/jacob-biltius/
Muzej Statens Museum For Kunst originaluniqueart.com/sr/museums/statens-museum-for-kunst-kopenhagen_sr/
Slična dela Još radova za poređenje originaluniqueart.com/sr/art/similar/dead-wildfowl-by-jacob-biltius/
Predmet 18th century Dutch painters originaluniqueart.com/sr/articles/top10versus-18th-century-dutch-painters-en/
Predmet Feathered Masterpieces: The Enchanting World of Impressionist Bird Art originaluniqueart.com/sr/articles/ti-misc-feathered-masterpieces-the-enchanting-world-of-impressionist-bird-art-en/
Predmet 16th century Flemish painters originaluniqueart.com/sr/articles/adc-top10versus-16th-century-flemish-painters-en/
Predmet Dutch Baroque Masters: 10 Paintings That Shaped an Era originaluniqueart.com/sr/articles/dutch-baroque-masters-10-paintings-that-shaped-an-era-en/

Pogledajte kako izgleda na vašem zidu: Dead Wildfowl by Jacob Biltius kao ručno oslikano ulje na platnu, izrađeno prema vašim dimenzijama

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Citiranje ovog umetničkog dela: Dead Wildfowl

MLA: Biltius, Jacob. Dead Wildfowl. 1674, Statens Museum For Kunst. https://originaluniqueart.com/sr/art/dead-wildfowl-by-jacob-biltius/
APA: Biltius, Jacob (1674). Dead Wildfowl [Painting]. Statens Museum For Kunst. https://originaluniqueart.com/sr/art/dead-wildfowl-by-jacob-biltius/
Chicago: Jacob Biltius. Dead Wildfowl. 1674. Statens Museum For Kunst. https://originaluniqueart.com/sr/art/dead-wildfowl-by-jacob-biltius/
Harvard: Biltius, Jacob (1674) Dead Wildfowl. Statens Museum For Kunst. Available at: https://originaluniqueart.com/sr/art/dead-wildfowl-by-jacob-biltius/

Dead Wildfowl — Jacob Biltius

Koliko dobro poznajete ovo umetničko delo?

Obeležite jedan odgovor za svako od 5 pitanja ispod. Svako pitanje ima tačno jedan tačan odgovor.

1. What is the primary subject matter of the painting 'Dead Wildfowl'?
- A A collection of fish on a wooden table
- B A collection of dead wildfowl on a stone ledge
- C A landscape featuring hunting equipment
2. In which year was the artwork 'Dead Wildfowl' created?
- A 1651
- B 1674
- C 1681
3. What is the medium used for this artwork?
- A Oil on canvas
- B Watercolor on paper
- C Tempera on panel
4. According to the description, what is the orientation of the composition?
- A Horizontal
- B Square
- C Vertical
5. What are the dimensions of the painting?
- A 79.5 x 61.0cm
- B 61.0 x 79.5cm
- C 80 x 60cm

Moj rezultat: ____ od ukupno 5

Rešenja kviza — za nastavnike

Ovo započinje novu štampanu stranicu, pa se prilikom kopiranja može jednostavno izostaviti.

1B · 2B · 3A · 4C · 5A

Proverite tačnost odgovora upoređujući ga sa katalogom za ovu sliku

Dead Wildfowl — Jacob Biltius

Radna lista za detaljnu analizu umetničkog dela Dead Wildfowl, za studente i istraživače

Odgovorite svojim rečima. Ovde nema netačnih odgovora — postoje samo odgovori koje možete objasniti.

Šta vam prvo privuče pažnju i zašto?
Koje boje ili oblici stvaraju atmosferu — i kakva je to atmosfera?
U našem katalogu ovo delo je klasifikovano pod: birds, wildfowl, feathers. Da li se slažete? Šta biste dodali ili uklonili?
Vratite se na Dead Birds (1670), koji ste ranije videli u ovom vodiču. Navedite dve zajedničke karakteristike ovog i prethodnog dela, kao i jednu koja ih razlikuje.
Baroque: Dramatic, theatrical pictures using deep shadow and strong diagonals to pull you into the action. Gde se to može uočiti u ovom delu?

Vaš odgovor

Napišite kratak pasus o ovom umetničkom delu. Koristite činjenice iz prethodnih delova ovog vodiča i svoje odgovore navedene iznad.

Pitanja i odgovori

Koja boja dominira kompozicijom dela „Dead Wildfowl”, autor Jacob Biltius?

Boja koja najviše izdvaja se u delu "Dead Wildfowl" je Phthalo Green (#2b2925). Dominantna boja je korisna pri uklapanju umetničkog dela u enterijer.

Preporučena veličina štampe za delo "Dead Wildfowl" je?

Preporučena veličina štampe za „Dead Wildfowl”, autor Jacob Biltius je Large.

Da li je "Dead Wildfowl" ostalo u domovini svog umetnika?

Ne – umetničko delo se nalazi u inostranstvu. Rodna zemlja umetnika Jacob Biltius je Netherlands, dok se muzej u kojem se čuva original dela „Dead Wildfowl” nalazi u državi Danska.

Kog je oblika i dimenzija delo „Dead Wildfowl”, autor Jacob Biltius?

„Dead Wildfowl”, autor Jacob Biltius je kompozicija u formatu Portrait čija su dimenzije u originalu 79.5 x 61.0cm.

Koji emocionalni ton prati stil Baroque u delu "Dead Wildfowl"?

„Dead Wildfowl“ odiše Somber emocijom u okviru pokreta Baroque.

Sva pitanja i odgovori o Dead Wildfowl