Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 90 dela Gaspar De Crayer u našem katalogu
Ukratko
Za ljubitelje galerije, najpoznatije delo umetnika Gaspar De Crayer je Saint Augustine (1655), čiji se original nalazi u muzeju Музеј Прадо, Мадрид. Portrait of Nicolas Triest, Count d'Auweghem (1620) i Anne of Austria, Consort of Emperor Mathias (1650) čine triju koju svako oko prepoznaje. Od 90 dela umetnika Gaspar De Crayer u našem katalogu, galerija u nastavku predstavlja 86 najpoznatijih dela, od kojih je svako originalno, sa navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
A solemn figure in full episcopal regalia dominates the composition, positioned on a rugged shoreline under a twilight sky. The saint, draped in heavy liturgical vestments, gazes downward toward a small child playing with shells at the water's edge. This encounter, set against the muted blues and greys of a receding sea, creates a sense of quiet authority and contemplative grace. The lighting follows a chiaroscuro pattern, casting a soft…
This portrait of Nicolas Triest, Count d'Auweghem, is a significant work by the Flemish painter Gaspar de Crayer. Created in 1620, the painting captures the likeness of the nobleman with a quiet, authoritative presence. It belongs to the genre of portraiture, focusing entirely on the character and status of the individual depicted.
The portrait depicts Anne of Austria, Consort of Emperor Mathias, positioned in a full-length vertical composition. She stands slightly off-center, her posture upright and formal. The subject wears a voluminous black patterned gown that absorbs much of the light, creating a deep contrast against the surrounding elements. A large lace ruff encircles her neck, accompanied by delicate lace ruffles at the cuffs. Multiple rows of pearls drape across her chest,…
The artwork titled Lamentation, also referred to as The Lamentation of Christ, is an oil on canvas painting by the Flemish artist Gaspard De Crayer. Executed between 1649 and 1656, this large-scale figured Pietà depicts the aftermath of the crucifixion. The subject matter focuses on the physical presence of the deceased Christ and the surrounding figures of mourning.
The Virgin Mary sits at the heart of a pyramid, her presence anchoring a heavy, sacred gathering. Beside her, the Christ Child rests within the folds of her garments. Around this central pair, a group of saints forms a quiet circle of devotion. Maria Magdalen, Cecilia, Dorothea, Catharina, and Augustine occupy the space with a grounded, monumental weight. Their bodies are arranged in a way that directs the eye upward,…
The air feels heavy with the weight of a profound, quiet suffering. In this somber scene from 1650, Jesus Christ sits at the center of a dramatic tension that pulls the viewer toward his very wounds. He is presented to the world, a figure marked by the physical toll of his passion. A crown of thorns rests upon his brow, and the reed held in his hand serves as a…
The martyrdom of Saint Peter is an oil on panel work by the Flemish artist Gaspar de Crayer. Executed between 1646 and 1650, the painting captures a religious and tragic subject through the lens of the Counter-Reformation. The work reflects the stylistic shifts occurring in the Southern Netherlands during the mid-17th century.
The Equestrian portrait of Don Diego Messia Felipe de Guzmán, Marquis of Leganés is a formal oil on canvas work by the Flemish artist Gaspar de Crayer. Created in 1628, the painting captures the nobleman in a moment of command. The subject of the work is Don Diego Messia Felipe de Guzmán, Marquis of Leganés.
In this 1639 oil on canvas, we find ourselves witnessing a moment of profound spiritual intersection. The composition is structured around a dramatic verticality, pulling the eye from the earthly presence of St. Theresa toward the luminous, cloud-filled heavens. There is a palpable sense of movement here, driven by the sweeping lines of drapery and the graceful, almost weightless gestures of the figures. The light does not merely illuminate the…
A rugged landscape of ochre and sienna forms the stage for a solitary figure. Saint John the Baptist rises from the earth, his body draped in the coarse texture of animal skins. He is positioned slightly off-center, a vertical pillar of devotion against a backdrop of dark rocks and weathered bark. A long wooden staff cuts a sharp diagonal across his frame, guiding the eye upward toward a face illuminated…
Saint Benedict receives Totila1601
12
Portrait of a Gentleman1620 · Gothenburg Museum of Art
13
The Judgement of Salomon1620 · Museum of Fine Arts Ghent (MSK)
14
Tobias and the Angel1618 · Museum of Fine Arts Ghent (MSK)
15
The ghost of Samuel appears to the witch of Endor; Saul falls prostrate to the ground (1 Samuel 28:3-20)1619 · Groeningemuseum
16
Veronica meets Christ1622
17
Veil of Saint Veronica1626 · Bavarske državne slikopisne kolekcije
18
Christ and the Samaritan Woman1626 · Bavarske državne slikopisne kolekcije
19
King Philip IV of Spain1626 · Bavarske državne slikopisne kolekcije
20
Philip IV alongside two servants1629
21
Portrait of Peter Pecquius (1562-16265), chancellor of Brabant1626 · Bavarske državne slikopisne kolekcije
22
Portrait of Bishop Antonius Triest1628 · Museum of Fine Arts Ghent (MSK)
23
Elijah Fed by the Raven1624 · Kraljevski muzej lepih umetnosti u Antverpenu
24
Cleopatra1634 · Statens Museum For Kunst
25
The resurrection of Christ1634 · Amsterdam Museum
26
Christ in the Garden of Olives (fragment)1633 · Rubens House
27
Male portrait with bust of Alexander ?1634
28
Equestrian portrait of Gaspar de Guzmán, Count-Duke of Olivares, Grandee of Spain1627
29
Thesis Painting1646 · Bavarske državne slikopisne kolekcije
30
Adoration of Mary by Saints1646 · Bavarske državne slikopisne kolekcije
31
The Virgin and Child with the Saints Dominic, Anthony, Augustine, Monica, Dorothea, and Barbara1643
32
The Martyrdom of Saint Lawrence1640 · Museum of Fine Arts Ghent (MSK)
33
Rinaldo and Armida1645
34
Saint Augustine in Ecstasy1648 · Dulwich Picture Gallery
35
The Guardian Angel1650
36
The Holy Virgin and the Child Jesus Venerated by Different Saints1650 · Musée de Grenoble
37
Saint Apollonia1650
38
The Resurrection of Christ1659 · Museum of Fine Arts Ghent (MSK)
39
Saint John Evangelist writes his Revelations on the Island of Patmos1659 · Museum of Fine Arts Ghent (MSK)
40
The Assumption of the Virgin1650 · Museum of Fine Arts Ghent (MSK)
41
Lactatio of Saint Bernard of Clairvaux1659 · Kraljevski muzej lepih umetnosti u Antverpenu
42
Portrait of Oliver Cromwell, Lord Protector of the Commonwealth of Britain1650
43
Christ on the cross surrounded by a priest, possibly Jan Mijtens, and provosts of the Grote Begijnhof in Brussel1654
44
Saint Augustine in Ecstasy1650 · Musée des Beaux-Arts de Valenciennes
45
The resurrection of the saints Monulph and Gondulph from their graves1650 · Bonnefanten Museum
46
Penitent Magdalen1650 · Musée des Beaux-Arts de Valenciennes
47
Portrait of Winand de la Margelle, abbot of the Sint-Gertrudisabdij1664
48
The Martyrdom of Saint Blaise1668 · Museum of Fine Arts Ghent (MSK)
49
The Resurrection of Christ (verso: Christ on the Cross; grisaille by another hand)1667 · Museum of Fine Arts Ghent (MSK)
50
St Bruno1669
51
Saint Dominic of Guzmán1655 · Музеј Прадо
52
Saint Anthony of Padua with the Infant Christ1655 · Музеј Прадо
53
The Annunciation1620 · Kunsthistorisches Museum
54
Triumph of Scipio Africanus1634 · Courtauld Gallery
55
Philip IV (1605 1665) in Parade Armor1628 · Metropoliten музеј у Њујорку
56
The Ascension of Saint Catherine1641 · Scottish National Gallery
57
The Cardinal Infante1639 · Музеј Прадо
58
Pieta with portraits of Henry van Dongelberghe and wifeKraljevski muzeji fine umetnosti Belgije
59
LE CHRIST EN CROIX ENTRE SAINTE MADELEINE ET SAINT FRANCOISLuvr
60
Portrait of a young manFitzwilliam Museum
61
The Adoration of the MagiMuseum of Fine Arts Ghent (MSK)
62
Last JudgmentYekaterinburg Museum of Fine Arts
63
Gaspar de Crayer
64
TOBIE ET L'ANGE
65
The Meeting of Alexander the Great and DiogenesMetropoliten музеј у Њујорку
66
LA PECHE MIRACULEUSEPalais des Beaux-Arts de Lille
67
L'ELEVATION EN CROIX
68
LE SAUVEUR DU MONDE
69
Job sur le tas de fumier Job dans l'adversitéMusée des Augustins
70
The Virgin and Child with Saint JohnMaidstone Museum - Bentlif Art Gallery
71
The Martyrdom
72
The Coronation of St RosalieMuseum voor Schone Kunsten
73
Van dyck de crayer.Liechtenstein Museum
74
Lille de crayer martyres.Palais des Beaux-Arts de Lille
75
LE MARTYRE DES QUATRE COURONNES (CLAUDIUS, NICOLASTRATUS, SYMPHORIANUS, CASTOR ET SIMPLICIUS)
76
LE CALVAIRE AVEC SAINT FRANÇOIS D'ASSISE ET SAINT BERNARDIN DE SIENNE (ESQUISSE)
77
Head Study of a Young MoorMuseum voor Schone Kunsten
78
OLIVIER CROMWELL, LORD PROTECTEUR D'ANGLETERRE (1559 1658) , DIT AUTREFOIS LEOPOLD GUILLAUME, ARCHIDUC D'AUTRICHE, GOUVERNEUR DES PAYS BAS
79
Virgin and Child
80
The Adoration of the Shepherds, Gaspar de Crayer, c. 1640 - c. 16501650 · Rijksmuseum
81
LA VIERGE ET L'ENFANT JESUS AVEC SAINT AUGUSTIN, SAINTE BARBE ET SAINT ANTOINELuvr
82
The Descent from the Cross, Gaspar de Crayer, c. 1640 - c. 16501650 · Rijksmuseum
83
Alexander and DiogenesWallraf-Richartz-Museum
84
Roman Charity1625 · Музеј Прадо
85
Caritas Romana1645
86
Portrait of a Lady1620 · Academy of Fine Arts Vienna
#8 Equestrian portrait of Don Diego Messia Felipe de Guzmán, Marquis of Leganés
#11 Saint Benedict receives Totila
#12 Portrait of a Gentleman
#15 The ghost of Samuel appears to the witch of Endor; Saul falls prostrate to the ground (1 Samuel 28:3-20)
#28 Equestrian portrait of Gaspar de Guzmán, Count-Duke of Olivares, Grandee of Spain
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Gaspar De Crayer | Slike iz ovog spiska |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 10 | The Judgement of Salomon, Tobias and the Angel, Portrait of Bishop Antonius Triest |
 Музеј Прадо |
Мадрид | 6 | Saint Augustine, Saint John the Baptist, Saint Dominic of Guzmán |
 Kunsthistorisches Museum |
Beč | 6 | Lamentation, Virgin with child and saints Maria Magdalen, Cecilia, Dorothea, Catharina and Augustine, Ecce Homo |
 Bavarske državne slikopisne kolekcije |
Minhen | 6 | Veil of Saint Veronica, Christ and the Samaritan Woman, King Philip IV of Spain |
 Kraljevski muzej lepih umetnosti u Antverpenu |
Antverpen | 2 | Elijah Fed by the Raven, Lactatio of Saint Bernard of Clairvaux |
 Musée des Beaux-Arts de Valenciennes |
Valensijen | 2 | Saint Augustine in Ecstasy, Penitent Magdalen |
 Metropoliten музеј у Њујорку |
Њујорк | 2 | Philip IV (1605 1665) in Parade Armor, The Meeting of Alexander the Great and Diogenes |
 Luvr |
Pariz | 2 | LE CHRIST EN CROIX ENTRE SAINTE MADELEINE ET SAINT FRANCOIS, LA VIERGE ET L'ENFANT JESUS AVEC SAINT AUGUSTIN, SAINTE BARBE ET SAINT ANTOINE |
Izaberite deceniju da biste videli original koji je definiše.
The scene unfolds in Saint Benedict receives Totila, a work that captures a heavy moment of spiritual and earthly encounter. Painted by the Flemish Master Gaspar de Crayer, the canvas brings this historical meeting into sharp focus. The artist, a significant figure of the Counter-Reformation, renders the interaction with a sense of immediate presence. We find ourselves watching as the monk and the soldier meet within a space defined by…
In the oil painting Tobias and the Angel by Gaspar de Crayer, the composition is centered on two figures arranged in a dynamic, triangular formation. On the left, an angelic figure sits partially reclined, featuring large, white feathered wings. This figure is draped in flowing robes of pale lavender, gold, and deep blue. To the right, a young man named Tobias leans forward toward the water's edge. He wears a…
This portrait of Nicolas Triest, Count d'Auweghem, is a significant work by the Flemish painter Gaspar de Crayer. Created in 1620, the painting captures the likeness of the nobleman with a quiet, authoritative presence. It belongs to the genre of portraiture, focusing entirely on the character and status of the individual depicted.
The Virgin Mary sits at the heart of a pyramid, her presence anchoring a heavy, sacred gathering. Beside her, the Christ Child rests within the folds of her garments. Around this central pair, a group of saints forms a quiet circle of devotion. Maria Magdalen, Cecilia, Dorothea, Catharina, and Augustine occupy the space with a grounded, monumental weight. Their bodies are arranged in a way that directs the eye upward,…
In Gaspar de Crayer's Thesis Painting, a dense gathering of holy figures forms a monumental pyramidal structure. The eye travels upward from the heavy presence of the foreground figures toward the Virgin and Child, who occupy the top center of the arrangement. This ascent is guided by fluid, dynamic lines that trace the deep folds of heavy fabrics and the expressive gestures of the saints. Armored figures and angels occupy…
A solemn figure in full episcopal regalia dominates the composition, positioned on a rugged shoreline under a twilight sky. The saint, draped in heavy liturgical vestments, gazes downward toward a small child playing with shells at the water's edge. This encounter, set against the muted blues and greys of a receding sea, creates a sense of quiet authority and contemplative grace. The lighting follows a chiaroscuro pattern, casting a soft…
The martyrdom of Saint Peter is an oil on panel work by the Flemish artist Gaspar de Crayer. Executed between 1646 and 1650, the painting captures a religious and tragic subject through the lens of the Counter-Reformation. The work reflects the stylistic shifts occurring in the Southern Netherlands during the mid-17th century.
Saint Augustine (1655), Музеј Прадо, Мадрид. Slede Portrait of Nicolas Triest, Count d'Auweghem (1620) i Anne of Austria, Consort of Emperor Mathias (1650).
71 godina: Saint Augustine datira iz 1655, a Gaspar De Crayer je rođen/a 1584.
Saint Augustine, Portrait of Nicolas Triest, Count d'Auweghem, Anne of Austria, Consort of Emperor Mathias, Lamentation, Virgin with child and saints Maria Magdalen, Cecilia, Dorothea, Catharina and Augustine, Ecce Homo, The martyrdom of Saint Peter, Equestrian portrait of Don Diego Messia Felipe de Guzmán, Marquis of Leganés, St Theresa receiving a gold chain and a mantle embroidered with gold from the Virgin i Saint John the Baptist. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 90 dela umetnika Gaspar De Crayer, datiranih od 1601 do 1669.
Većinom u Museum of Fine Arts Ghent (MSK) (Gent), Музеј Прадо (Мадрид) i Kunsthistorisches Museum (Beč). Tabela muzeja iznad sadrži njih sve.
U 1650s: 21 od 86 dela na ovoj stranici nastalo je tada, od čega je Saint Augustine.
Na ovoj stranici, najstarije delo je iz Saint Benedict receives Totila (1601), a najnovije iz St Bruno (1669).
Man (32), Woman (19) i Drapery (14), kroz svih 86 dela na ovoj stranici.
Oil On Canvas, za 41 od 86 dela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
The Judgement of Salomon, Tobias and the Angel i Portrait of Bishop Antonius Triest: Museum of Fine Arts Ghent (MSK), Gent čuva 10 dela sa ove stranice.
Ime Gaspara de Crayera možda nije toliko prepoznatljivo kao imena njegovih savremenika, Rubensa ili Van Dycka, ali on ipak predstavlja ključnu figuru flamanske umetnosti 17. veka. Rođen u Antverpenu 1lık 1584. godine, a preminuo u Gentu 1669. godine, on je kroz nemirni politički pejzaž Španskih Neterlanda uspešno navigirao, postajući dvorinski slikar, majstor esnafa i plodni stvaralac kako portreta, tako i monumentalnih oltara. Njegovo delo ne odražava samo umetničke struje svog vremena, već i duboke religiozne promene donete Kontrareformacijom, čineći ga presudnim veznim členom između manirističkih tradicija prošlosti i uzbudljivog baroknog stila.
De Crayerov rani život bio je prožet umetnošću. Bio je sin Gasparda de Crayera starijeg, cenjenog dekorativnog slikara, iluminatora i trgovca umetninama – lozada koja je u njemu usadila poštovanje prema zanatu i duboko razumevanje umetničkih materijala. Umesto da ostane u svom rodnom mestu, Antverpenu, on je tražio priliku u Briselu, gradu koji je pod španskim guvernerima ubrzano postajao centar umetničkog pokroviteljstva. Upravo je tu, oko 1607. godine, stekao status majstora u esnafu Svetog Luke, što je bilo značajno dostignuće koje je svedočilo o njegovoj tehničkoj veštini i posvećenosti profesiji.
Njegova rana karijera bila je obeležena porudbinama španskog dvora i lokalnih dostojanstvenika. Brzo se etablirao kao portretista, beležeći likove kraljeva, guvernera i članova briselskog gradskog veća – dela koja su pokazivala i njegovu sposobnost da dočarava realistične crte lica i njegovo rastuće vladanje kompoziciju. Konjički portret Dona Diega Messia Felipe de Guzmána (koji se danas nalazi u Kunsthistorisches Museum u Beču) predstavlja primer ovog ranog perioda, demonstrirajući sofisticirano razumevanje perspektive i pedantnu pažnju posvećenu detaljima. Ipak, upravo su njegovi radovi na oltarima zaista utvrdili njegovu reputaciju i učinili ga vodećim umetnikom svoje generacije.
De Crayerova karijera poklopila se sa usponom Kontrareformacije, perioda intenzivne religiozne reforme unutar Katoličke crkve. Crkva je aktivno nastojala da iskoristi umetnost kao alat za propagandu i duhovnu pouku, naručujući raskošne oltare i devocionalna slikala koja bi inspisirala pobožnost i učvrstila katoličku doktrinu. De Crayer je prihvatio ovu priliku, stvarajući ogroman broj dela za crkve i manastire širom Flandera, Nemačke i Španije. Ovi oltari nisu bili samo dekorativni; oni su bili pažljivo konstruisane naracije dizajnirane da prenesu religiozne poruke kroz živopisne slike i dramatične kompozicije.
Njegov pristup bio je duboko pod uticajem tadašnjih prevladavajućih umetničkih trendova, posebno onih koje je zastupao Peter Paul Rubens. Poput Rubensa, De Crayer je preferirao dinamične kompozicije, bogate boje i osećaj pokreta – kvalitete koji su njegovim delima podarili emocionalni intenzitet i teatralni sjaj. Vešto je spajao elemente manirizma sa novonastalim baroknim principima, kreirajući prepoznatljiv stil karakterisan elegancijom, gracioznošću i dubokom duhovnom težinom.
De Crayerov uticaj protezao se izvan religiozne sfere. Godine 1635, kardinal-infant Ferdinand Austrijski, brat kralja Filipa IV Španskog, imenovao ga je za svog dvorinskog slikara – prestižna pozicija koja mu je omogućila značajno bogatstvo i pristup uticajnim pokroviteljima. Ovo imenovanje označilo je značajnu promenu u njegovoj karijeri, približavajući ga španskoj kraljevskoj porodici i pružajući mu prilike da stvara monumentalna dela za javne zgrade i religiozne institucije.
Nakon Ferdinandovog odlaska, arhiduk Leopold Vilhelm Austrijski nastanio se u Briselu, nastavljajući De Crayerovo pokroviteljstvo. On je takođe angažovao De Crayera na radu na dekoraciji palate Huis ten Bosch u Den Hagu, pokazujući njegovu svestranost kao umetnika i sposobnost prilagođavanja različitim stilovima. Njegova radionica je cvitala tokom ovog perioda, zapošljavajući brojne asistente koji su mu pomagali da ispuni neprekidni niz porudžbina – od portreta istaknutih građana do raskošnih oltara za crkve širom Evrope.
Među De Crayerovim najslavnijim delima nalaze se “Smrt Device” (sada u Madridu), moćan prikaz biblijske scene, kao i njegovi brojni oltari, uključujući “Mučeništvo Svetog Blaža” i “Caritas Romana”. Ovaj poslednji, naslikan 1645. godine, posebno je vredan zbog svoje dramatične kompozicije i evokativnog prikaza hrišćanskog milosrđa. To je svedočanstvo njegove sposobnosti da religiozne teme prožme emocionalnom rezonancijom.
De Crayerovo nasleđe ne leži samo u lepoti njegovih pojedinačnih dela, već i u njegovoj ulozi mosta između umetničkih tradicija. On je upio lekcije Rafaela Coxiea i Rubensa, istovremeno razvijajući sopstveni prepoznatljiv stil – onaj koji karakteriše elegancija, dinamizam i duboka duhovna snaga. Iako su ga često zasenili poznatiji savremenici, Gaspar de Crayer ostaje važna figura u istoriji flamanske umetnosti, kao dokaz neprolazne moći vere, lepote i umetničke veštine.
Svoje poslednje godine proveo je u Gentu, gde je nastavio da prihvata porudžbine sve do smrti 1669. godine. Njegova radionica nastavila je da radi nekoliko godina nakon njegove smrti, osiguravajući da njegovo umetničko nasleđe opstane.
