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Od svih originala koje je Nikola Bertin ostavio, najpoznatiji je The Good Samaritan (1701), koji se nalazi u kolekciji Bavarske državne slikopisne kolekcije, Minhen. Odmah za njima slede Christ and the Canaanite Woman (1701) i Christ and the Samaritan Woman (1701). Naš katalog sadrži 43 dela umetnika Nikola Bertin; galerija je čuvala 42 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
This monochromatic painting, dated 1701, depicts a scene from the biblical parable of the Good Samaritan. The composition centers on a man assisting an injured individual onto a horse. To the left, a stone archway provides a structured architectural element, while the background is filled with the dense, detailed textures of foliage and trees. The entire work is rendered in a grayscale palette, utilizing a wide range of tonal values…
The oil painting titled Christ and the Canaanite Woman was executed by the French painter Nicolas Bertin. This work dates to 1701. The artist, who was born in Paris in 1667, lived until 1736. His hand is evident in the specific handling of the figures and the narrative structure presented in this composition.
In this 1701 oil painting, two figures are positioned within a wooded landscape near a stone well. Christ is depicted with an outstretched arm, a gesture directed toward the Samaritan woman. She reacts to his presence with a specific hand gesture, creating a diagonal tension between their bodies. The composition follows a triangular arrangement, guiding the eye from the seated or leaning figure of Christ toward the woman and then…
A heavy, muscular tension pulls at the center of the canvas. Hercules moves with a sudden, diagonal force, his body a study in strained anatomy and heroic intent. He reaches toward Prometheus, whose torso is pale against the encroaching shadows of the rocky landscape. The scene is a collision of flesh and stone, a moment of violent rescue frozen in oil. Red drapery cuts through the earthy browns of the…
In this intimate oil painting, we encounter Saint Gregory the Great, a figure of profound spiritual weight. The portrait, executed by the French painter Nicolas Bertin, captures the subject in a moment of quiet, upward contemplation. It is a work that invites a closer look at the individual's character and the divine connection suggested by his expression.
The scene unfolds within a rugged, outdoor workshop or grotto, where heavy textures define the rocky background and the foliage of large trees. In the center-left, Venus is depicted as a luminous, seated figure, her body angled as she gestures toward Vulcan. Vulcan is positioned with his back to the viewer, his muscular frame leaning over an anvil as he engages in his craft. The arrangement of the figures follows…
The canvas captures a violent collision between the hero Hercules and the river god Achelous. Two muscular male figures dominate the foreground, locked in a physical struggle that defines the composition. Their limbs form energetic, diagonal lines, guiding the eye through the chaos of the combat. Above the fray, a winged female figure floats amidst the clouds, holding a laurel wreath as a symbol of divine oversight or impending triumph.…
Nicolas Bertin’s Bacchanalia. presents a scene of exuberant revelry set within a dark, cavernous environment. The composition is dynamic, centering on a group of figures engaged in celebration. On the left, a male figure is captured in mid-motion, his back partially turned to the viewer as he raises a golden goblet toward the others. To the right, three figures—two women and a man—recline together upon a draped surface. The arrangement…
A heavy, muscular tension pulls the eye upward. Hercules moves in a powerful diagonal, his body a study of strained anatomy and light. He reaches toward the suffering figure of Prometheus, whose flesh is pale against the dark, craggy shadows of the rock. The air feels thick with the scent of dust and the heat of a struggle. Every muscle is a knot of effort, carved by light that strikes…
The Infant Zeus among Nymphs by Nicolas Bertin depicts a mythological scene set within a lush, pastoral landscape. The composition is organized in a dynamic, pyramidal structure that directs the viewer's eye toward the center of the grouping. At this focal point, an infant Zeus is surrounded by a group of nymphs. These figures are positioned in various poses of movement and service, creating a sense of activity within the…
Bacchus with Four Putti1716 · Bavarske državne slikopisne kolekcije
12
Saturn Clipping the Wings of Eros1716 · Bavarske državne slikopisne kolekcije
13
Amor Leaves Psyche1716 · Bavarske državne slikopisne kolekcije
14
Prophets and Kings of the Old Testament Adoring the Name of Jehovah1718 · Muzej fine umetnosti u Hjustonu
15
The Resurrection of Christ1730 · Muzej Carnavalet
16
Christ Washing the Feet of His Disciples1725 · Art Institute of Chicago
17
Daniel in the Lions' Den1736 · Musée des Beaux-Arts de Strasbourg
18
Susanna and the Elders1699 · Rijksmuseum
19
Phaethon on the Chariot of Apollo1720 · Luvr
20
PROMETHEE DELIVRE PAR HERCULELuvr
21
Saint Philippe baptisant l'eunuque de la reine CandaceLuvr
22
Vertumnus and Pomona1706 · Opera House
23
Joseph and Potiphar"s Wife, Nicolas Bertin, 1690 - 17101710 · Rijksmuseum
24
Jupiter and DanaëMusée National du Château de Compiègne
25
The Finding of the Money in Benjamin's SackNational Gallery of Ireland
26
Bacchus and AriadneNationalmuseum
27
Nicolas Bertin - Apollon et les Muses
28
La Lapidation de saint Etienne
29
Hercule délivrant Prométhée
30
Jupiter et LédaMusée National du Château de Compiègne
31
Acis et GalathéeMusée National du Château de Compiègne
32
Moïse et les filles de Jethro
33
Persée délivrant AndromèdeMusée National du Château de Compiègne
34
LE TRIOMPHE DE DAVID
35
Jupiter et Danaë
36
Vénus et l'Amour
37
Anacréon et l'Amour
38
PHAETON CONDUISANT LE CHAR DU SOLEILLuvr
39
La résurrection de Lazare
40
Moïse et les filles de Jéthro
41
Psyché abandonnée par l'AmourMusée National du Château de Compiègne
42
Hercule assommant les soldats de Busiris Hercule et les Nymphes (Titre ancien) Hercule et les filles de Stymphalos (Titre ancien)
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 Nikola Bertin | Slike iz ovog spiska |
|---|---|---|---|
 Bavarske državne slikopisne kolekcije |
Minhen | 6 | The Good Samaritan, Christ and the Canaanite Woman, Christ and the Samaritan Woman |
 Musée National du Château de Compiègne |
Kompien | 5 | Jupiter and Danaë, Jupiter et Léda, Acis et Galathée |
 Luvr |
Pariz | 4 | Phaethon on the Chariot of Apollo, PROMETHEE DELIVRE PAR HERCULE, Saint Philippe baptisant l'eunuque de la reine Candace |
 Opera House |
Versailles | 2 | Venus Orders Vulcan to Make Arms for Aeneas, Vertumnus and Pomona |
 Nacionalni muzej u Varšavi |
Varšava | 2 | Hercules fighting Achelous., Bacchanalia. |
 Rijksmuseum |
Amsterdam | 2 | Susanna and the Elders, Joseph and Potiphar"s Wife, Nicolas Bertin, 1690 - 1710 |
 Birmingham Museum of Art |
Birmingham | 1 | Hercules Delivering Prometheus |
 National Museum of Art, Architecture and Design |
Oslo | 1 | The Infant Zeus among Nymphs |
Izaberite deceniju da biste videli original koji je definiše.
This work, titled Susanna and the Elders, was painted by Nicolas Bertin in 1699. It is a significant example of the artist's ability to handle complex narrative themes through a Baroque lens. The painting captures a specific biblical scene, focusing on the tension between the central female figure and the men who have intruded upon her privacy.
This monochromatic painting, dated 1701, depicts a scene from the biblical parable of the Good Samaritan. The composition centers on a man assisting an injured individual onto a horse. To the left, a stone archway provides a structured architectural element, while the background is filled with the dense, detailed textures of foliage and trees. The entire work is rendered in a grayscale palette, utilizing a wide range of tonal values…
The canvas captures a violent collision between the hero Hercules and the river god Achelous. Two muscular male figures dominate the foreground, locked in a physical struggle that defines the composition. Their limbs form energetic, diagonal lines, guiding the eye through the chaos of the combat. Above the fray, a winged female figure floats amidst the clouds, holding a laurel wreath as a symbol of divine oversight or impending triumph.…
In this Baroque oil painting, Christ Washing the Feet of His Disciples, Nicolas Bertin captures a moment of profound spiritual intimacy. Painted about 1725, the work focuses on the biblical scene of Christ performing the humble task of washing the feet of His followers. The artist, Nicolas Bertin, moves beyond simple illustration to explore the weight of the act itself. Through the physical postures of the gathered men, the painting…
The air vibrates with a sudden, celestial energy as the figure of Jesus Christ ascends toward the heavens. He dominates the upper half of the frame, his body rendered with soft, muscular definition and draped in flowing white cloth that catches a light from an unseen source. In his left hand, he holds a slender staff topped with a cross, while his right arm reaches upward, grasping at the divine…
The Good Samaritan (1701), Bavarske državne slikopisne kolekcije, Minhen. Slede Christ and the Canaanite Woman (1701) i Christ and the Samaritan Woman (1701).
34 godina: The Good Samaritan datira iz 1701, a Nikola Bertin je rođen/a 1667.
The Good Samaritan, Christ and the Canaanite Woman, Christ and the Samaritan Woman, Hercules Delivering Prometheus, Saint Gregory the Great, Venus Orders Vulcan to Make Arms for Aeneas, Hercules fighting Achelous., Bacchanalia., Hercules Delivering Prometheus i The Infant Zeus among Nymphs. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 43 dela umetnika Nikola Bertin, datiranih od 1699 do 1736.
Većinom u Bavarske državne slikopisne kolekcije (Minhen), Musée National du Château de Compiègne (Kompien) i Luvr (Pariz). Tabela muzeja iznad sadrži njih sve.
U 1700s: 8 od 42 dela na ovoj stranici nastalo je tada, od čega je The Good Samaritan.
Na ovoj stranici, najstarije delo je iz Susanna and the Elders (1699), a najnovije iz Daniel in the Lions' Den (1736).
Man (12), Drapery (8) i Woman (6), kroz svih 42 dela na ovoj stranici.
Oil, za 10 od 42 dela na ovoj stranici.
Baroque, sudeći po originalima na ovoj stranici.
The Good Samaritan, Christ and the Canaanite Woman i Christ and the Samaritan Woman: Bavarske državne slikopisne kolekcije, Minhen čuva 6 dela sa ove stranice.
Bertinovo delo odlikuje očaravajući spoj mitoloških i religiozno-duhovnih tema, koje su često prikazivane sa baroknom elegancijom i pedantnim detaljem. Njegova ranija dela, kao što je izgubljeno „Merkur ubija Argusa”, otkrivaju stilski uticaj braće Bulon — kroz graciozne figure i čiste boje izvedene iz flamanske tradicije. Ipak, Nikola Bertin je ubrzo počeo da korača sopstvenim putem, razvijajući jedinstven pristup narativnom pripovedanju putem boje. Njegova dela nastala oko prelaza vekova, kao što su „Jozef i Potifareva žena” i „Suzana i starci”, jasno ilustruju ovu umetničku transformaciju. Ove intimne religiozne scene bile su posebno popularne među privatnim kolekcionarima, jer su nudile dvosmiselne narative koji su omogućavali i sakralna i sekularna tumačenja. On nije samo ilustrovao biblijske priče; on je istraživao teme iskušenja, žudnje i morala uz izuzetno suptilnu senzibilnost. Druga značajna dela obuhvataju „Beg u Egipat” i „Mars i Venera”, gde svako od njih demonstrira njegovo majstorstvo u kompoziciji, upotrebi boje i emocionalnom izražavanju.
