Dead Wildfowl
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.
Kortfattat
Dead Wildfowl (1674) är den målning av Jacob Biltius som drar till sig flest blickar; originalet finns på Statens Museum for Kunst, Köpenhamn. Därefter dras blicken till Dead Birds (1670) och Snip, hanging (1663). Bland de 10 verk av Jacob Biltius i vår katalog är dessa 10 de mest kända, var och en ett unikt original presenterat med sitt år, sitt museum och anledningen till dess tidlösa betydelse.
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 stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
De fyra motiv som återkommer oftast i dessa originalverk, var och ett med sitt främsta exempel.
De 3 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Jacob Biltius | Målningar från denna lista |
|---|---|---|---|
| Köpenhamn | 5 | Dead Wildfowl, Dead Birds, Wildfowl on a Wooden Table | |
| Leeuwarden | 2 | Snip, hanging, Dead Partridge, Hanging | |
| 1 | Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall |
En lång karriär på 17 år, från 1663 till 1679: Jacob Biltiuss mest kända original, visade år för år.
Välj ett år för att se originalen.
The stillness of Dead Birds meets the viewer through the meticulous hand of Jacob Biltius. This somber still life captures a quiet moment following a hunt, where the subjects rest in a heavy, atmospheric silence. The work carries the weight of the Dutch Golden Age, presenting a scene that feels both immediate and deeply still. Every feather and wooden grain exists in a space defined by shadow and light.
Mer från 1670
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.
Dead Wildfowl (1674), Statens Museum for Kunst, Köpenhamn. Dead Birds (1670) och Snip, hanging (1663) följer efter.
41 år gammal: Dead Wildfowl är från 1674, och Jacob Biltius föddes 1633.
Dead Wildfowl, Dead Birds, Snip, hanging, Dead Partridge, Hanging, Wildfowl on a Wooden Table, A Dead Hare, A hunting still life with a partridge, a grouse, a hare and hunting paraphernalia, A still life of game and hunting acoutrements, on a stone ledge, Trompe-l'oeil of an arms rack with a leading staff, a partizan, a matchlock musket, a longbow, a fowling piece with pistols, game bags, dead game and other instruments of the chase hanging on a wall och Dead Wildfowl and a Huntsman's Net. Trompe l'oeil. Rankingen ovan visar varje verks årtal och museum.
Vår katalog innehåller 10 verk av Jacob Biltius, daterade från 1663 till 1679.
Främst i Statens Museum for Kunst (Köpenhamn), Fries Museum (Leeuwarden) och Kunsthandel P. de Boer. Museitabellen ovan listar alla.
Under 1663: 2 av de 10 verk som finns på denna sida skapades då, varav Snip, hanging.
På den här sidan är det tidigaste Snip, hanging (1663) och det senaste Dead Wildfowl and a Huntsman's Net. Trompe l'oeil (1679).
Feathers (2) och Dark background (2), fördelat på 10 verk på denna sida.
Oil On Canvas, för 2 av de 10 verk som finns på denna sida.
Dead Wildfowl, Dead Birds och Wildfowl on a Wooden Table: Statens Museum for Kunst, Köpenhamn har 5 av verken på denna sida.
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.
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.