Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 86 verk av Jan Baptist Weenix i vår katalog
Kortfattat
Av alla originalverk som Jan Baptist Weenix lämnade efter sig är det mest kända Tobit, asleep under a vine, is blinded (1642), i samlingen hos Museum Boijmans Van Beuningen, Rotterdam. Tätt efter följer Italian landscape with shelter and antiques ruins (1658) och Still Life with a Dead Swan (1651). Vår katalog innehåller 86 verk av Jan Baptist Weenix; galleriet har bevarat de 78 som världen beundrar mest, var och en presenterad med sitt datum, sitt museum och sin historia.
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
The air feels heavy with the scent of damp stone and the rhythmic, metallic scrape of steel against stone. Under a vast, expansive sky, a group of figures gathers within the skeletal remains of a classical ruin. A man leans into his work, operating a grinding wheel that cuts through the quietude of the scene. Beside him, a woman sits in repose, while a small child stands close by, watching…
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
The composition relies on strong vertical elements, primarily through imposing columns and a central, highly ornate pedestal topped with a large urn. These structures anchor the scene, providing a sense of scale against the scattered human figures in the foreground and middle ground. Through a use of deep recession, the perspective draws the eye past a colonnade toward a distant, hazy horizon where the masts of ships are visible.
The scene unfolds in 1648, a moment captured in the oil on canvas known as Harbour with Antique Ruins. This work belongs to the hand of Jan Baptist Weenix, an artist who brings the weight of history into a living, breathing maritime setting. The painting presents a world where the weathered stone of classical antiquity meets the constant, rhythmic movement of a working harbor. It is a vision of a…
In "The Angel Raphael Leaving Tobias's Family" by Jan Baptist Weenix, a divine departure unfolds with sudden, celestial energy. The scene captures the exact moment the Angel Raphael ascends toward the heavens, leaving the family below in a state of profound awe and reverence. A powerful diagonal movement pulls the eye from the lower left foreground upward toward the upper left, where the angelic figure climbs into a swirling formation…
vegetable-sellers at the house-door, 5 figures1646
12
caravane near the shore1646
13
Mother and Child1647
14
Circumcision of Moses' son1640 · Nationalmuseet i Warszawa
15
Still Life with Game, Hunter and Two Dogs1652 · Bavarian State Painting Collections
16
Butterfly Dog and Dead Bird1649 · Museum Mayer van den Bergh
17
Pleasure boating1650
18
The Sleeping Shepherdess1658 · National Gallery of Ireland
19
Roman Tinker1656 · Städel Museum
20
The love letter1650 · Nationalmuseet i Oslo
21
Italian Harbour1651 · Ermitaget
22
Italian Peasants among Ruins1650 · Detroit Institute of Arts
23
Sleeping girl1656 · Bavarian State Painting Collections
24
Rest on the Flight into Egypt1657 · Museum Boijmans Van Beuningen
25
Merry Company on a Ferry1649 · Museum Gouda
26
Battle at the foot of the mountain.1650 · Nationalmuseet i Warszawa
27
Christina Lepper de Kempenaer and Her Children1653
28
Italian port scene, 16491649 · Centraal Museum
29
Italian Landscape with Horsemen by a Spring1657 · Centraal Museum
30
Before the walls of Rome1650 · National Museum in Wrocław
31
Portrait of a man with a letter1650 · Agnes Etherington Art Center
32
A Landscape with a Ford1660 · Regional Gallery in Liberec
33
In the Campagna1669 · National Gallery of Ireland
34
Dead Fowl Being Eaten by a Cat1653 · Städel Museum
35
Departure of an Oriental Entourage1647 · Louvre
36
Display of Dead Game1641 · Petit Palais
37
Dead Game1641
38
River Landscape with a Ferry1650 · Montreal Museum of Fine Arts
39
Still Life with Dead Game and Poultry1656 · Centraal Museum
40
Still Life with Fowl1650 · Museum of Fine Arts Ghent (MSK)
41
Marine with a Venetian Bucintoro1650 · Staatliche Kunsthalle Karlsruhe
42
The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 16591659 · Rijksmuseum
43
After the Hunt, Jan Baptist Weenix, c. 16561656 · Rijksmuseum
44
Still Life with White Mouse1680 · Ernest Zmeták Art Gallery
45
Still Life with GameHarvard Art Museums
46
The Ford in the River1647 · Ermitaget
47
Harbor View with Rider in Oriental Dress,Groninger Museum
48
The Holy Women at the TombNational Gallery of Ireland
49
An Italian SeaportKoninklijk Museum voor Schone Kunsten Antwerpen
50
Architectural interior with foreign shippers, ruins and a shipyard beyond
51
Study of a sheep
52
A pig's carcase
53
The Tinker and His Dog
54
Landscape with Peasants and Animals
55
Dead Partridge1650 · Mauritshuis
56
Goat Lying Down, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
57
A Dog and a Cat near a partially disembowelled Deer, Jan Baptist Weenix, 1645 - 16601660 · Rijksmuseum
58
Still Life with Dead Poultry, Lidded Pitcher and PassglasBavarian State Painting Collections
59
Game-pieceNational Gallery of Ireland
60
Dead game and hunting tackle in landscape
61
Hound with a Joint of Meat and a Cat Looking on
62
Bouquet of flowersGemäldegalerie
63
Shipping in Harbour
64
Herons and Lapwings
65
Still Life of Dead Game in a Landscape with a Huntsman
66
An italian port scene
67
Shepherds and Flocks among Classical Ruins
68
A Coast Scene with Classical RuinsWallace Collection
69
Still Life with Dead Game
70
Hounds and an Owl with Dead Birds and Sculptures in a Landscape
71
Still Life with Dead Birds
72
Family in a Mediterranean Seaport
73
Figures near a SeaportScottish National Gallery
74
A Huntsman cutting up a Dead Deer, with Two DeerhoundsNational Gallery
75
Ancient RuinsSzépművészeti Múzeum
76
Figures among ruinsThe Kremer Collection
77
Ancient Ruins (detail)Szépművészeti Múzeum
78
Girl as Shepherdess1650 · Musée de Picardie
De fyra motiv som återkommer oftast i dessa originalverk, var och ett med sitt främsta exempel.
De 8 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Jan Baptist Weenix | Målningar från denna lista |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 4 | The Scissors Grinder, Still Life with Game, Hunter and Two Dogs, Sleeping girl |
 Centraal Museum |
Utrecht | 4 | Portrait of René Descartes, Italian port scene, 1649, Italian Landscape with Horsemen by a Spring |
 National Gallery of Ireland |
Dublin | 4 | The Sleeping Shepherdess, In the Campagna, The Holy Women at the Tomb |
 Rijksmuseum |
Amsterdam | 4 | The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, After the Hunt, Jan Baptist Weenix, c. 1656, Goat Lying Down, Jan Baptist Weenix, 1645 - 1660 |
 Museum Boijmans Van Beuningen |
Rotterdam | 2 | Tobit, asleep under a vine, is blinded, Rest on the Flight into Egypt |
 Mauritshuis |
Haag | 2 | Italian landscape with shelter and antiques ruins, Dead Partridge |
 Detroit Institute of Arts |
Detroit | 2 | Still Life with a Dead Swan, Italian Peasants among Ruins |
 Nationalmuseum |
Stockholm | 2 | Harbour with Antique Ruins, The Angel Raphael Leaving Tobias's Family |
Från 1640 till 1659 arbetade Jan Baptist Weenix i 20 år: urvalet följer den långa karriären år för år, genom dess främsta originalverk.
Välj ett år för att se originalen.
The composition is defined by a sharp diagonal movement, tracing a path from the upper left toward a figure positioned on the ground. A descending figure, draped in billowing white and cream fabric, moves through a dark, receding background. Below, a man dressed in red reaches upward with outstretched arms. The scene is rendered in oil on canvas, utilizing a palette of deep browns, ochres, and umbers. Light emanates from…
In this work, titled Tobit Sleeping Under the Vine, we encounter a significant piece by the Dutch Golden Age painter Jan Baptist Weenix. Created around 1642, the painting belongs to the Baroque period, a time when the interplay of light and shadow began to define the dramatic tension of Northern European art. Weenix, born in Amsterdam, Netherlands, brought a disciplined approach to his subjects, often blending meticulous observation with a…
Mer från 1641
A single man reclines in the heavy shade of a vine. He is Tobit, lost to a deep, unsuspecting sleep. The air around him feels thick, weighted by the muted tones of ochre and forest green. Sunlight does not flood this scene; instead, it pierces through the foliage in sharp, controlled beams, illuminating the textures of his slumped posture and the coarse fabric of his clothing. He rests amidst a…
The oil on canvas titled vegetable-sellers at the house-door, 5 figures was painted by Jan Baptist Weenix. This work dates to about 1646. It captures a quiet moment of human gathering near a stone threshold.
Mer från 1646
In this 1647 oil painting, Jan Baptist Weenix captures the French philosopher René Descartes. The subject appears in a medium close-up, his presence defined by a heavy, somber stillness. He is an elderly man, his face marked by the weight of thought and the passage of years. A bright white collar cuts through the darkness of his attire, framing a pale countenance that emerges from a deep, umber shadow.
Mer från 1647
Hunters Near Ruins is an oil on canvas painting by Jan Baptist Weenix. The work is dated 1648. This piece belongs to the Dutch Golden Age, a period during which the artist developed a specific approach to landscape and human figures.
Mer från 1648
Butterfly Dog and Dead Bird is a painting by Jan Baptist Weenix. Created about 1649, the work captures a quiet moment of mortality. The artist, Jan Baptist Weenix, was born in 1621 near the harbor of Amsterdam. He was the son of an architect, a lineage that perhaps informed his sense of structure and form.
Mer från 1649
The scene unfolds in Pleasure boating, a work by the Dutch Golden Age painter Jan Baptist Weenix. Born in 1621, the artist brings a sense of life to this maritime setting. The composition captures a moment of leisure near a shoreline, where figures gather around a small boat. In the distance, a large tower and architectural ruins rise against the horizon, grounding the activity in a landscape that feels both…
Mer från 1650
The painting Still Life with a Dead Swan by Jan Baptist Weenix captures a heavy, silent moment of the hunt. Created about 1651, the work presents a collection of fallen game as a trophy of the chase. A white swan rests at the center, its pale plumage a stark contrast to the darker forms surrounding it. This central figure is accompanied by a turkey, two partridges, and a small finch,…
Mer från 1651
The air feels heavy with the scent of damp earth and the metallic tang of the hunt. In this somber, Baroque-style scene, a sudden stillness has fallen over the landscape, leaving only the echoes of a recent chase. A large white bird, perhaps a swan or a goose, lies at the center of the composition, its wings spread wide in a final, frozen gesture of flight. The pale plumage catches…
The scene unfolds through the oil on canvas of Christina Lepper de Kempenaer and Her Children, a work that captures a quiet moment of familial presence. Jan Baptist Weenix brings this group to life, anchoring the figures within a structured space that feels both intimate and grand. The painting measures 93.4 x 121.3 cm, a scale that allows the viewer to feel the proximity of the subjects and the weight…
In "Roman Tinker" by Jan Baptist Weenix, a solitary figure occupies a rustic, outdoor setting that feels suspended in a quiet moment. The composition follows an asymmetrical arrangement, drawing the eye away from the immediate foreground toward a sprawling landscape. A young man, identified as a tinker, sits in the lower right foreground, his presence anchoring the scene. Near him, various pots rest upon the uneven ground, suggesting a life…
Mer från 1656
A serene and pastoral scene unfolds within a Baroque landscape, capturing a moment of respite during a period of travel. A woman sits amidst the undulating hills, cradling an infant in her arms, while a man mounted on a donkey waits nearby. The composition is anchored by a large, dark, textured tree on the left, which frames the central figures and directs the eye toward the receding landscape. Sheep and…
Mer från 1657
The oil on panel painting titled Italian landscape with shelter and antiques ruins was executed by the artist Jan Baptist Weenix in 1658. This landscape painting depicts a specific pastoral setting within an Italianate environment. The scene is populated by a group of peasants and various livestock, including sheep and goats. These figures are situated near a rustic cottage and several ancient architectural ruins that occupy the landscape.
Mer från 1658
In The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659, the artist Jan Baptist Weenix captures a moment of diplomatic transit. The scene focuses on Ambassador Joan Cunaeus and his secretary Cornelis Speelman. They move through a courtyard, part of a larger mission to stimulate trade in silk and horses within Persia. The air of the meeting feels heavy with the weight of commerce and…
Tobit, asleep under a vine, is blinded (1642), Museum Boijmans Van Beuningen, Rotterdam. Italian landscape with shelter and antiques ruins (1658) och Still Life with a Dead Swan (1651) följer efter.
21 år gammal: Tobit, asleep under a vine, is blinded är från 1642, och Jan Baptist Weenix föddes 1621.
Tobit, asleep under a vine, is blinded, Italian landscape with shelter and antiques ruins, Still Life with a Dead Swan, Tobit Sleeping Under the Vine, The Scissors Grinder, Hunters Near Ruins, Portrait of René Descartes, Monument at a Harbour, Harbour with Antique Ruins och The Angel Raphael Leaving Tobias's Family. Rankingen ovan visar varje verks årtal och museum.
Vår katalog innehåller 86 verk av Jan Baptist Weenix, daterade från 1640 till 1659.
Främst i Bavarian State Painting Collections (München), Centraal Museum (Utrecht) och National Gallery of Ireland (Dublin). Museitabellen ovan listar alla.
Under 1650: 11 av de 78 verk som finns på denna sida skapades då, varav Pleasure boating.
På den här sidan är det tidigaste Circumcision of Moses' son (1640) och det senaste The Dutch Ambassador on his Way to Isfahan, Jan Baptist Weenix, 1653 - 1659 (1659).
Landscape (18), Ruins (17) och Sky (13), fördelat på 78 verk på denna sida.
Oil On Canvas, för 30 av de 78 verk som finns på denna sida.
Dutch golden age och Baroque, om man dömer efter originalen på denna sida.
The Scissors Grinder, Still Life with Game, Hunter and Two Dogs och Sleeping girl: Bavarian State Painting Collections, München har 4 av verken på denna sida.
Jan Baptist Weenix framstår som en unik gestalt inom den nederländska guldåldern, hyllad för sin särpräglade förmåga att förena minutiös observation med en fantasifull vision. Även om hans konstnärliga produktion var relativt blygsam jämfört med samtida mästare som Rembrandt eller Vermeer, är Weenix bidrag till den nederländska konsthistorien obestridligt – särskilt hans banbrytande utforskande av italienska landskap besjälade med mänskliga gestalter, vilket skapade ett stilistiskt prejudikat som skulle eka genom kommande generationer. Han föddes i Amsterdam 1621 nära den livliga hamnen och härstammade från en familj av arkitekter, en släktlinje som sannolikt formade hans formativa år mitt i epokens intellektuella och strukturella förvandling.
Trots personliga utmaningar – berättelser antyder att han kämpade med talet på grund av ett medicinskt tillstånd – besatt Weenix en brinnande passion för litteratur och konst, en passion som främjades av en mor som proaktivt ordnade hans lärlingsskap under Jan Micker, Rembrandts svåger. Denna tidiga träning gav honom en disciplinerad inställning till tecknande och observation som skulle komma att bli kännetecknande för hela hans livsverk. Han förfinade vidare sina färdigheter i Utrecht under ledning av Abraham Bloemaert och återvände senare till Amsterdam för att studera under Claes Corneliszoon Moeyaert, vilket befäste hans förankring i de rådande konstnärliga strömningarna i Nederländerna.
Weenix karriärväg förändrades i grunden av hans resor, främst hans färd till Rom 1643 tillsammans med Nicolaes Pieterszoon Berchem. Denna utflykt gav honom möjligheten att möta den livskraftiga intellektuella och konstnärliga miljön inom gillet Bentvueghels, en erfarenhet som drev honom mot en mer expansiv stilistisk räckvidd. I Rom omfamnade han den italianiserande stilen, kännetecknad av ett varmt, gyllene ljus och klassiska landskap som stod i vacker kontrast till de svalare, mer dämpade tonerna i det traditionella nederländska måleriet. Denna period av romerskt inflytande gjorde det möjligt för honom att bemästra konsten med det "italianiserande landskapet", där Sydeuropas karga skönhet återuppfanns genom en nordeuropeisk lins.
Hans verk under denna era sammanvävde ofta det klassiska landskapets storslagenhet med intima, mänskliga element. Oavsett om han avbildade hamnscener som viskade om sjöfartshandel eller vidsträckta vyer som frammanade en känsla av tidlöshet, besatt Weenix en unik förmåga att fånga en plats atmosfär. Hans mästerskap var inte begränsat till vidsträckta horisonter; han var lika skicklig på att fånga livets tysta och ofta påtagliga verklighet genom sina stilleben. Hans skildringar av vilt och djur präglades av en slående realism, där varje textur – från den sträva pälsen hos en jakthund till fjädrarnas delikata lyster – återgavs med en närmast andlöst precision.
Jan Baptist Weenix betydelse ligger i hans förmåga att överbrygga klyftan mellan den råa realismen i den nederländska traditionen och den idealiserade skönheten i den italianiserande rörelsen. Hans mångsidighet tillät honom att navigera mellan varierande motiv, från den dramatiska spänningen i verk som Efter jakten till den tysta, nästan melankoliska intensiteten i hans djurstudier. Genom hans pensel bjuds betraktaren in i en värld där gränserna mellan den observerade naturliga världen och det föreställda klassiska förflutna vackert suddas ut.
När vi reflekterar över hans liv och verk är det flera nyckelelement som definierar hans bestående betydelse:
Trots att hans liv var relativt kort och slutade 1661, förblir avtrycket efter Jan Baptist Weenix synligt i landskapsmåleriets utveckling. Han lärde kommande generationer att betrakta horisonten inte bara som en gräns, utan som en duk för ljus, historia och mänsklig känsla.
