Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 68 verk av Johann Closterman i vår katalog
Kortfattat
Ur galleriets perspektiv är Johann Clostermans mest kända målning Robert Constable (1651–1714), 3rd Viscount Dunbar (1690). Portrait of a Figure with Cockatoo (1685) och Henry Purcell (1695) fullbordar trion som alla känner igen. Av de 68 verk av Johann Closterman i vår katalog presenterar galleriet nedan de 62 mest kända, var och en som ett original med sitt år, sitt museum och vad som gör det unikt.
A man leans against a table, his body anchored in a quiet, interior space. He wears the heavy, polished armor of a nobleman, the metal catching a sharp light from the upper left. This light carves the contours of his face and the rigid lines of his breastplate, casting deep shadows that give his form a heavy, physical presence. A blue scarf drapes around his neck, a single splash of…
A young man occupies the center of this vertical composition, his presence anchored by a heavy, navy blue velvet coat. He stands amidst a rugged landscape where the earth meets a heavy, cloudy sky. His dark, wavy hair falls long against the structured collar of a white ruffled cravat. On his right hand, a white cockatoo rests, its feathers catching the light. The bird is a pale, sharp contrast against…
In this portrait of Henry Purcell by Johann Closterman, we encounter a man who shaped the very foundations of English music. Painted about 1695, the work captures the likeness of a figure widely celebrated as the father of modern music in England. Purcell was a presence of significant influence during the Restoration period, a time of profound musical transformation. His career was marked by an early and remarkable ascent within…
In this portrait from 1700, we encounter the steady gaze of Sir Richard Haddock. The subject meets our eyes with a stern, unwavering expression that suggests a life defined by discipline and command. His features are rendered with a meticulous attention to detail, from the heavy texture of his mustache to the individual strands of his long hair. There is a certain weight to his presence, a gravity that comes…
This bust-length portrait depicts John Churchill, 1st Duke of Marlborough. Painted by Johann Closterman in 1687, the work presents the subject in a formal manner. The figure is positioned at a slight angle, with the gaze directed toward the viewer. The subject wears polished steel armor that reflects light, paired with a white cravat at the neck.
In this formal portrait, Johann Closterman positions Major general thomas fairfax ) in a three-quarter pose. The composition is anchored by the subject's stature, defined by strong vertical lines that command the space. A voluminous wig rests atop his head, adding a heavy, sculptural weight to his silhouette. To the right, a landscape element appears faintly in the background, a ghost of a world beyond the immediate shadow.
This portrait of John Poulett, first Earl Poulett, was executed by the artist Johann Closterman around 1690. The subject is depicted as a young boy, presented in a full-length pose that emphasizes his status and lineage. As a British politician and courtier, the young Poulett is portrayed with the formal attributes associated with his noble standing. He is shown standing slightly off-center, accompanied by a small dog at his feet.
Johann Closterman executed the Portrait of David Papillon ) in 1691. The subject is a young man identified as David Papillon, presented in a formal depiction that emphasizes his social standing and character. The work emerged during a period when Closterman was establishing his reputation for capturing the nuances of the European elite.
In this portrait of Isabella Machell, Viscountess Irwin, Johann Closterman captures a moment of quiet dignity. Painted about 1690, the work presents the subject in a serene, seated pose upon an ornate bench. She is positioned within a garden setting, a choice that lends a sense of grace to the composition. The subject gazes directly at the viewer, her expression softened by a gentle smile that suggests a calm and…
In this full-length portrait from 1703, we encounter John Manners, 1st Duke of Rutland, captured in a moment of profound stillness and high station. He is positioned slightly to the left, his presence commanding the vertical space of the canvas. The subject is draped in heavy, ceremonial coronation robes, the deep reds of the velvet creating a striking contrast against the white and black of the ermine fur trim. His…
William Bromley, MP & Speaker (1664 – 1732)1709 · Charlecote Park
12
Colonel George Lucy (1665/66 - 1721)1704 · Charlecote Park
13
Portrait of a Gentleman (said to be John Howe, 1630–1705, chaplain to Oliver Cromwell and his son)1702 · Christ's College
14
John Bridgeman Of Prinknash1638
15
John Bridgeman of Prinknash1638
16
Portrait of Judge George Jeffreys, First Baron of Wem1648
17
John Churchill 1st Duke Of Marlborough And Sarah Duchess Of Marlborough With1660
18
Elizabeth Mulso, Mrs John Dolben1685
19
Sir William Brownlow (1665–1702), 4th Bt of Humby, MP1685 · National Trust
20
Alice Sherard (1659–1721), Lady Brownlow1685 · National Trust
21
John Dolben, MP1685
22
Sir John Brownlow (1659–1697), 3rd Bt, 'Young Sir John'1685 · National Trust
23
Dorothy Mason (1665–1699 1700), Lady Brownlow1685 · National Trust
24
Lady Margaret Tufton, Lady Coventry1680
25
Inscribed as 'Elizabeth Kirkley (d.1674), First Wife of Sir William Blackett, 1st Bt (1st Creation)' (but probably Mary Yorke, 2nd wife of Sir Edward Blackett, 2nd Bt)1680 · Wallington National Trust
26
Lady Amabel Grey (b.1673), Sister of Henry Grey, Duke of Kent1694
27
Charles Seymour (1662–1748), 6th Duke of Somerset, KG, with a Black Page1692 · Petworth House
28
Christopher Wren (1632–1723)1690 · The Royal Society
29
Colonel George Lucy (1665 1666–1721)1690 · National Trust
30
Lady Elizabeth Percy, Duchess of Somerset, and Her Son1690 · Petworth House
31
Samuel Pepys1690 · National Portrait Gallery
32
The Children of John Taylor of Bifrons Park1696 · Beningbrough Hall
33
Lady Amabel Grey, Daughter of Henry Grey, Duke of Kent1694
34
William Cowper (1666–1709)1690
35
Portrait of Guilford Killigrew, When a Boy1709
36
Queen Anne (1665–1714) (after Godfrey Kneller)1703 · Windsor Guildhall
37
James Craggs the Elder1710 · National Portrait Gallery
38
Arthur Herbert (c.1648–1716), 1st Earl of Torrington1700
39
Eleanor Brownlow (1691–1730), Later Viscountess Tyrconnel, as a Young Girl1702 · National Trust
40
Sir Henry Parker (c.1640–1713), 2nd Bt of Honington1700
41
Eleanor Brownlow, Later Viscountess Tyrconnel, as a Young Girl1702 · Belton House
42
Unknown man, formerly known as Sir James Thornhill1705 · National Portrait Gallery
43
Maurice Ashley Cooper Anthony Ashley Cooper, 3rd Earl of Shaftesbury1702
44
Sir John Aubrey (c.1650–1700), 2nd Bt
45
Sir Robert Dashwood (1666–1734), Bt
46
Sir William Temple
47
Edward Montagu (1670–1729), 3rd Earl of Sandwich
48
Portrait of a Racehorse and Jockey
49
Portrait Of Charles Calvert
50
Portrait of Edward Radclyffe, 2nd Earl of Derwentwater (oil on canvas)
51
Portrait of Thomas and George Dashwood
52
Portrait of a Lady
53
Mary Hough, Lady (Basil) FirebraceMelford Hall
54
Daniel parke
55
Portrait of Queen Anne
56
Prince George of Denmark (1653–1708), Consort to Queen Anne (after Godfrey Kneller)Windsor Guildhall
57
Edward Montagu, 3rd Earl of Sandwich
58
Elizabeth Crewe, Countess of ArranCalke Abbey
59
Portrait of a Gentleman Wearing Red
60
Probably Sir Edward Blackett (1651 1652–1718), 2nd BtWallington National Trust
61
The Triumph of John, 1st Duke of MarlboroughRoyal Hospital Chelsea
62
Portrait of William Paul (1673 1711) of Bray, Berkshire, with his dog and a gun
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 Johann Closterman | Målningar från denna lista |
|---|---|---|---|
 National Portrait Gallery |
London | 5 | Henry Purcell, John Churchill, 1st Duke of Marlborough, Samuel Pepys |
 National Trust |
Grantham | 5 | Sir William Brownlow (1665–1702), 4th Bt of Humby, MP, Alice Sherard (1659–1721), Lady Brownlow, Sir John Brownlow (1659–1697), 3rd Bt, 'Young Sir John' |
 Charlecote Park |
Warwickshire | 2 | William Bromley, MP & Speaker (1664 – 1732), Colonel George Lucy (1665/66 - 1721) |
 Wallington National Trust |
Wallington | 2 | Inscribed as 'Elizabeth Kirkley (d.1674), First Wife of Sir William Blackett, 1st Bt (1st Creation)' (but probably Mary Yorke, 2nd wife of Sir Edward Blackett, 2nd Bt), Probably Sir Edward Blackett (1651 1652–1718), 2nd Bt |
 Petworth House |
Petworth | 2 | Charles Seymour (1662–1748), 6th Duke of Somerset, KG, with a Black Page, Lady Elizabeth Percy, Duchess of Somerset, and Her Son |
 Windsor Guildhall |
Windsor | 2 | Queen Anne (1665–1714) (after Godfrey Kneller), Prince George of Denmark (1653–1708), Consort to Queen Anne (after Godfrey Kneller) |
 Museo del Prado |
Madrid | 1 | Portrait of a Figure with Cockatoo |
 Ministry of Defence |
London | 1 | Sir Richard Haddock (1629–1715) |
Välj ett decennium för att se originalverket som definierar det.
A young man occupies the center of this vertical composition, his presence anchored by a heavy, navy blue velvet coat. He stands amidst a rugged landscape where the earth meets a heavy, cloudy sky. His dark, wavy hair falls long against the structured collar of a white ruffled cravat. On his right hand, a white cockatoo rests, its feathers catching the light. The bird is a pale, sharp contrast against…
A man leans against a table, his body anchored in a quiet, interior space. He wears the heavy, polished armor of a nobleman, the metal catching a sharp light from the upper left. This light carves the contours of his face and the rigid lines of his breastplate, casting deep shadows that give his form a heavy, physical presence. A blue scarf drapes around his neck, a single splash of…
In this portrait from 1700, we encounter the steady gaze of Sir Richard Haddock. The subject meets our eyes with a stern, unwavering expression that suggests a life defined by discipline and command. His features are rendered with a meticulous attention to detail, from the heavy texture of his mustache to the individual strands of his long hair. There is a certain weight to his presence, a gravity that comes…
Johann Closterman painted this portrait of James Craggs the Elder in 1710. The subject was an English financier and Whig politician who held significant influence within the political and financial spheres of the era. His career included service as a Member of Parliament and a role as joint Postmaster-General.
Robert Constable (1651–1714), 3rd Viscount Dunbar (1690). Därefter följer Portrait of a Figure with Cockatoo (1685) och Henry Purcell (1695).
30 år gammal: Robert Constable (1651–1714), 3rd Viscount Dunbar är från 1690, och Johann Closterman föddes 1660.
Robert Constable (1651–1714), 3rd Viscount Dunbar, Portrait of a Figure with Cockatoo, Henry Purcell, Sir Richard Haddock (1629–1715), John Churchill, 1st Duke of Marlborough, Major general thomas fairfax ), John Poulett, first Earl Poulett, Portrait of David Papillon ), Isabella Machell, Viscountess Irwin och John Manners, 1st Duke of Rutland (1638 – 1711). Rankingen ovan visar varje verks årtal och museum.
Vår katalog innehåller 68 verk av Johann Closterman, daterade från 1680 till 1710.
Främst i National Portrait Gallery (London), National Trust (Grantham) och Charlecote Park (Warwickshire). Museitabellen ovan listar alla.
Under 1690s: 14 av de 62 verk som finns på denna sida skapades då, varav Robert Constable (1651–1714), 3rd Viscount Dunbar.
På den här sidan är det tidigaste Lady Margaret Tufton, Lady Coventry (1680) och det senaste James Craggs the Elder (1710).
Man (26), Woman (14) och Wig (7), fördelat på 62 verk på denna sida.
Oil On Canvas, för 32 av de 62 verk som finns på denna sida.
Baroque, om man dömer efter originalen på denna sida.
Henry Purcell, John Churchill, 1st Duke of Marlborough och Samuel Pepys: National Portrait Gallery, London har 5 av verken på denna sida.
Med en tidig talang som växte fram, tog Closterman ett avgörande steg i sin konstnärliga utbildning genom att flytta till Paris år 1679. Där fann han mentorskap hos François de Troy, en hyllad målare känd för sina storslagna skildringar av det aristokratiska livet och sina detaljrika dekorativa program. Denna koppling gav Closterman en djup inblick i de rådande konstnärliga strömningarna vid det parisiska hovet och förfinade hans förmåga att fånga subtila ansiktsuttryck och förmedla storslagenhet genom ett minutiöst penselarbete.
Drivet av ambition och en längtan efter större möjligheter, bege sig Closterman mot England år 1681. Han etablerade sig snabbt som assistent till John Riley, en framstående porträttmålare som åtnjöt stor uppskattning för sin förmåga att porträttera sina motiv med en anmärkningsvärd realism och psykologiskt djup. Johann Closterman spelade en betydelsefull roll i Rileys monumentala porträtt av adliga familjer, där han särskilt fokuserade på draperiernas fall – en teknik som vittnade om hans exceptionella behärskning av både färg och textur.
Spanskt beskydd och konstnärlig utforskning: År 1696 fick Closterman en inbjudan att tjäna som hovmålare åt kung Karl II av Spanien – en prestigefylld ära som gav honom tillträde till de rikaste och mest inflytelserika kretsarna i Europa. Under sin tid i Madrid skapade han porträtt av kungen, hans maka Mariana av Österrike och andra dignitärer, vilket visade på hans mångsidighet och förmåga att anpassa sin stil till olika konstnärliga traditioner. Vidare genomförde Closterman omfattande resor genom Italien vid två tillfällen, där han förvärvade värdefulla konstverk som berikade hans personliga samling och vidgade hans konstnärliga horisonter.
När Johann Closterman återvände till England upplevde han en ny våg av efterfrågan på sina tjänster bland den engelska eliten—ett levande bevis på hans bestående talang och rykte. År 1698 gifte han sig med Hannah, vilket lade grunden för ett familjeliv fyllt av de glädjeämnen och sorger som är naturliga för alla mänskliga relationer. Tyvärr gick Hannah bort i sjukdom år 1702, vilket lämnade Closterman i djup sorg. Berättelser tyder på att han i efterhand inledde en affär med en älskarinna som förskingrade betydande tillgångar från honom—en händelse som sades ha försatt honom i ett mentalt förfall. Jacob Campo Weyerman beskriver i sitt biografiska verk Closterman som ”en målare som hade tagit en vacker älskarinna som, medan han var ute på landet, rånade honom på hans värdesaker och försvann, handlingar som drev målaren till vansinne.” Han avled i frid år 1711 på Covent Garden Churchyard i London.
