Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 27 dela Žan-Batist Van Lo u našem katalogu
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Od svih originala koje je Žan-Batist Van Lo ostavio, najpoznatiji je Frederick, Prince of Wales (1707-51) (1742), koji se nalazi u kolekciji Buckingham Palace, London. Odmah za njima slede Robert Walpole (1740) i The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire (1740). Naš katalog sadrži 27 dela umetnika Žan-Batist Van Lo; galerija je čuvala 27 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
The Prince stands in a quiet, vertical command. He is draped in heavy velvet, a deep blue that absorbs the light, trimmed with the stark, soft white of ermine. To his side, a table holds a crown, its gold catching a single, sharp light. The background is a dark, indistinct void, pushing his figure forward into the viewer's space. Every fold of his satin clothing carries the weight of his…
This portrait of Robert Walpole, 1st Earl of Orford, was executed by the French artist Jean-Baptiste van Loo in 1740. It was originally painted for Lord Bessborough, capturing a man of significant political weight during a period of stability in Britain. The sitter is presented in his official capacity, wearing the robes of the Chancellor of the Exchequer. This specific depiction by Jean-Baptiste van Loo offers a direct look at…
The portrait depicts The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire, in a three-quarter length pose. He is positioned slightly off-center, facing the viewer with a direct gaze. The subject wears a powdered wig and a blue velvet frock coat over a cerulean blue waistcoat. Gold embroidery traces the edges of the waistcoat and the cuffs. A white lace cravat and delicate lace cuffs provide a sharp contrast to the…
In this 1740 oil on canvas, we encounter Sir Robert Walpole not as a man of action, but as a man of profound influence. The composition is a vertical three-quarter length portrait, positioning the subject slightly off-center to create a sense of monumental presence. He is draped in the heavy, luxurious fabrics of the 18th century, where the stiffness of the embroidered coat meets the softness of a lace cravat.…
Augusta, Princess of Wales (1719-72) emerges from the canvas through the brush of Jean-Baptiste van Loo. This formal portrait captures the Princess in a moment of quiet, regal poise. The French portrait painter Jean-Baptiste van Loo brings a sense of high social status to her likeness, utilizing a composition that emphasizes her nobility. Every detail of her ceremonial attire speaks to a life of immense wealth and importance within the…
In this 1720 oil painting, we witness a scene of profound spiritual movement. The composition is built upon a strong diagonal, pulling the eye from the celestial heights down into the heavy, shadowed confines of a prison. An angel descends through a rift of golden light, breaking the gloom to reach for Saint Peter. The light is not merely a visual element; it is the primary actor in the scene,…
The sky is a heavy, swirling mass of grey and muted blue. From this celestial weight, Diana descends. She moves in a sweeping upward arc, her body twisting with a grace that defies the gravity of the rocky landscape below. Her skin holds a luminous quality, catching a light that seems to fall from a realm beyond the clouds. She is draped in fabric of deep blue and dark green,…
In this portrait, Jean-Baptiste van Loo presents Catherine Opalińska, Queen of Poland. Painted about 1725, the work captures a woman of significant historical standing. Catherine held the position of Queen consort and Grand Duchess consort of the Polish–Lithuanian Commonwealth on two separate occasions. Her life was defined by the complex political landscapes of the eighteenth century, moving between the courts of Europe as a figure of high nobility.
Created about 1730, Apollo and Daphne by Jean-Baptiste van Loo captures the precise moment of metamorphosis. The scene follows the nymph Daphne as she attempts to escape the pursuit of Apollo. This mythological transformation marks the origin of the laurel tree and its enduring connection to the god.
The Portrait of Marie Leszczyńka. is an oil on canvas work executed by the French portrait painter Jean-Baptiste van Loo. Dated 1725, the painting depicts Marie Leszczyńska, who held the position of Queen of France as the wife of King Louis XV. The subject was born at the Château de Fontainebleau. She was the daughter of Stanislaus I Leszczyński and Catherine Opalińska.
Love Leaving Psyche1744 · Opera House
12
Portrait Of 4th Earl Of Chesterfield (1694-1773)1740 · Birmingham Museum and Art Gallery
13
Portrait Of Sir Richard Temple, 4th Viscount of Birmingham1740 · Birmingham Museum and Art Gallery
14
John Hervey, 1st Earl of Bristol (1665-1751)1742 · Ickworth
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Lord John Hervey, 2nd Baron Hervey of Ickworth, PC, MP (1696-1743) holding his Purse of Office as Lord Privy Seal1741 · Ickworth
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Horatio Walpole, 1st Baron Walpole of Wolterton (1678-1757)1739 · Hardwick Hall
17
Augusta, Princess of Wales with Members of her Family and Household1739 · Royal Collection
18
Young Louis XV, in Cuirass1750
19
Portrait of Louis XV1750
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Louis XV, king of France and Navarre1723 · Château de Versailles
21
King Louis XV With Armor in His Tent (El Rey Luis XV Con Armadura en Su Tienda)Zaragoza Museum
22
The Bath of DianaMusée des Beaux-Arts
23
William Murray, 1st Earl of MansfieldMuzej fine umetnosti u Hjustonu
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Portrait of a Lady (Madame Favart) in a pink and white striped dress
25
Portrait of Catherine Opalińska as Queen of Poland
26
Triumph of Galatea1720 · Ermitaž
27
William Murray, 1st Earl of Mansfield1737 · National Portrait Gallery
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 Žan-Batist Van Lo | Slike iz ovog spiska |
|---|---|---|---|
 Buckingham Palace |
London | 2 | Frederick, Prince of Wales (1707-51), Augusta, Princess of Wales (1719-72) |
 National Portrait Gallery |
London | 2 | Robert Walpole, William Murray, 1st Earl of Mansfield |
 Ermitaž |
Sankt Peterburg | 2 | Portrait of Sir Robert Walpole, Triumph of Galatea |
 Opera House |
Versailles | 2 | Catherine Opalińska, Queen of Poland, Love Leaving Psyche |
 Château de Versailles |
Versaj | 2 | Portrait of Marie Leszczyńka., Louis XV, king of France and Navarre |
 Birmingham Museum and Art Gallery |
Birmingem | 2 | Portrait Of 4th Earl Of Chesterfield (1694-1773), Portrait Of Sir Richard Temple, 4th Viscount of Birmingham |
 Ickworth |
Suffolk County | 2 | John Hervey, 1st Earl of Bristol (1665-1751), Lord John Hervey, 2nd Baron Hervey of Ickworth, PC, MP (1696-1743) holding his Purse of Office as Lord Privy Seal |
 Yale Center for British Art |
New Haven | 1 | The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire |
Izaberite deceniju da biste videli original koji je definiše.
In this 1720 oil painting, we witness a scene of profound spiritual movement. The composition is built upon a strong diagonal, pulling the eye from the celestial heights down into the heavy, shadowed confines of a prison. An angel descends through a rift of golden light, breaking the gloom to reach for Saint Peter. The light is not merely a visual element; it is the primary actor in the scene,…
The sky is a heavy, swirling mass of grey and muted blue. From this celestial weight, Diana descends. She moves in a sweeping upward arc, her body twisting with a grace that defies the gravity of the rocky landscape below. Her skin holds a luminous quality, catching a light that seems to fall from a realm beyond the clouds. She is draped in fabric of deep blue and dark green,…
The Prince stands in a quiet, vertical command. He is draped in heavy velvet, a deep blue that absorbs the light, trimmed with the stark, soft white of ermine. To his side, a table holds a crown, its gold catching a single, sharp light. The background is a dark, indistinct void, pushing his figure forward into the viewer's space. Every fold of his satin clothing carries the weight of his…
Frederick, Prince of Wales (1707-51) (1742), Buckingham Palace, London. Slede Robert Walpole (1740) i The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire (1740).
58 godina: Frederick, Prince of Wales (1707-51) datira iz 1742, a Žan-Batist Van Lo je rođen/a 1684.
Frederick, Prince of Wales (1707-51), Robert Walpole, The Rt. Honorable Stephen Poyntz, of Midgeham, Berkshire, Portrait of Sir Robert Walpole, Augusta, Princess of Wales (1719-72), Saint Peter Delivered from Prison, Diana and Endymion, Catherine Opalińska, Queen of Poland, Apollo and Daphne i Portrait of Marie Leszczyńka.. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 27 dela umetnika Žan-Batist Van Lo, datiranih od 1720 do 1744.
Većinom u Buckingham Palace (London), National Portrait Gallery (London) i Ermitaž (Sankt Peterburg). Tabela muzeja iznad sadrži njih sve.
U 1740s: 10 od 27 dela na ovoj stranici nastalo je tada, od čega je Frederick, Prince of Wales (1707-51).
Na ovoj stranici, najstarije delo je iz Saint Peter Delivered from Prison (1720), a najnovije iz Love Leaving Psyche (1744).
Man (15), Gold embroidery (7) i Wig (7), kroz svih 27 dela na ovoj stranici.
Oil On Canvas, za 18 od 27 dela na ovoj stranici.
Rococo, sudeći po originalima na ovoj stranici.
Frederick, Prince of Wales (1707-51) i Augusta, Princess of Wales (1719-72): Buckingham Palace, London čuva 2 dela sa ove stranice.
Ključni trenutak u njegovom životu nastao je pod pokroviteljstvom princa Emanuela Filiberta od Karinjana, koji je prepoznao Žan-Batista Van Lo-a u njegovom uzbudljivom usponu i finansirao njegovo putovanje u Rim. To boravište se pokazalo kao transformativno iskustvo. Pod mentorstvom Benedetta Lutija, Žan-Batist Van Lo se potpuno urubio u živopisno umetničko okruženje italijanske prestonice, usavršavajući svoje veštine i istovremeno značajno doprinoseći religijskom pejzažu grada. Njegovo delo „Hristovo bičevanje“ za crkvu Santa Maria in Monticelli doživelo je veliki odjek, pokazujući vrhunsko majstorstvo u dramskoj kompoziciji i emotivnoj intenzitetu. Ovaj rani uspeh utvrdio ga je kao slikara sposobnog kako za tehničku briljantnost, tako i za duboku duhovnu ekspresiju. Nakon Rima, umetnički put Žan-Batista Van Lo-a vodio ga je u Torino, gde je slikao portrete Karla Emanuela II, dukova Savoje, kao i članova njegovog dvora, čime je dodatno učvrstio svoju reputaciju među evropskom plemićkom aristokratijom. Kulminacija ovog perioda bila je njegova izbor u prestižnu Kraljevsku akademiju slikarstva i skulpture u Parizu, što je predstavljalo značajnu prekretnicu u njegovoj karijeri i otvorilo vrata za nove narudžbine iz najviših slojeva francuskog društva. Takođe se prisutvovao i u radovima na restauraciji u Fontenblou, pokazujući svestranost koja prevazilazi okvire portretizma.
