Mattheus Verheyden portresi

Mattheus Verheyden Tabloları: Bir Galerinin Gözünden En Ünlü 18 Eser

Kasım 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 18 eser Mattheus Verheyden kataloğumuzda

Özetle

Galerinin gözünde, Mattheus Verheyden'in en ünlü tablosu, aslı Amsterdam, Rijksmuseum içinde sergilenen Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 (1750)'dir. Portrait of Charlotte Beatrix Strick van Linschoten (1755) ve Portret van Maria Hartmans de Custere (1755), her gözün hemen fark edeceği o üçlüyü tamamlıyor. Katalogumuzdaki Mattheus Verheyden imzalı 18 eser arasından galerimiz, her biri yapıldığı yıl, sergilendiği müze ve onu eşsiz kılan özellikleriyle birlikte en ünlü 18 eseri aşağıda sunmaktadır.

1700 – 1777, Breda Baroque En çok eser: Rijksmuseum

Galerinin en iyi 10 Mattheus Verheyden tablosu

2
Portrait of Charlotte Beatrix Strick van Linschoten (1755) tarafından Mattheus Verheyden

Portrait of Charlotte Beatrix Strick van Linschoten

1755 · Oil On Canvas · Rijksmuseum, Amsterdam

The Portrait of Charlotte Beatrix Strick van Linschoten is an oil on canvas work by the Dutch artist Mattheus Verheyden. Painted about 1755, the portrait captures a woman of significant social standing. Charlotte van Linschoten was the second wife of Gerard Cornelis van Riebeeck. She is presented to the viewer in full finery, her presence defined by the heavy, structured elegance of her era.

3
Portret van Maria Hartmans de Custere (1755) tarafından Mattheus Verheyden

Portret van Maria Hartmans de Custere

1755 · Oil On Canvas · Rijksmuseum, Amsterdam

A single column of fluted stone rises behind Maria Hartmans de Custere, a rigid verticality that anchors the composition. She stands in three-quarter profile, her silhouette a dark, flowing shape against the architectural stillness. The light enters from the upper left, a directional beam that catches the pale skin of her neck and the crisp, white linen of her collar. This brightness acts as a focal point, a sharp contrast…

4
Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind (1728) tarafından Mattheus Verheyden

Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind

1728 · Oil On Canvas · Rijksmuseum, Amsterdam

The room falls away into a deep, velvet darkness, leaving only the soft glow of light upon two figures. Charlotte Maria Leidecker sits with a quiet dignity, her presence defined by the heavy, lustrous folds of her gown. The fabric catches the light, revealing the sheen of silk or satin, while the shadows settle deeply into the creases of her clothing. Beside her, a child rests, a small presence that…

5
Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange (1755) tarafından Mattheus Verheyden

Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange

1755 · Oil On Canvas · Rijksmuseum, Amsterdam

In this formal portrait, the Dutch painter Mattheus Verheyden captures the presence of Willem Kettingh (d 1670). Kettingh, who held the significant positions of Chief Treasurer and Bailiff of the Prince of Orange, meets the viewer's gaze from a position of quiet authority. The work, dated about 1755, presents a man whose life and status are etched into his very posture. He stands with a dignified air, his figure framed…

6
Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck (1750) tarafından Mattheus Verheyden

Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck

1750 · Oil On Canvas · Rijksmuseum, Amsterdam

In this 1750 portrait, we encounter the Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck. The artist, Mattheus Verheyden, captures the subject with a quiet, dignified presence that defines much of his body of work. Verheyden, who was born in Breda, Netherlands, developed a refined skill for documenting the likenesses of the era's social elite. This particular work focuses on Agnes Margaretha Albinus, who lived from 1713 to…

11. sıradan 18. sıraya kadar Mattheus Verheyden tabloları

Mattheus Verheyden'ın ilgisini çeken konular

Bu orijinal eserlerde en sık karşılaşılan ve her biri en seçkin örneğine sahip olan dört konu.

Mattheus Verheyden'in orijinal eserlerinin sergilendiği müzeler

Bu sayfadaki tabloların çoğuna ev sahipliği yapan 7 müze.

Müze Şehir Mattheus Verheyden Eserleri Bu listedeki tablolar
Rijksmuseum, AmsterdamRijksmuseum Amsterdam 8 Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750, Portrait of Charlotte Beatrix Strick van Linschoten, Portret van Maria Hartmans de Custere
Huis Zypendaal, ArnhemHuis Zypendaal Arnhem 2 Portrait of Frederik Willem Torck (1691-1761), Portrait of Jacoba Maria van Wassenaer van Duvenvoorde (1709-1771)
Museum Het Valkhof, NijmegenMuseum Het Valkhof Nijmegen 2 Portrait of Anna Martina van Benthem (1700-1793), Portrait of Christoffel van den Bergh (1702-1762)
Dordrechts Museum, DordrechtDordrechts Museum Dordrecht 2 Portrait of Catherina Johanna Braets, née Van den Santheuvel, Portrait of Adriaen Braets van Geervliet (1689-1747)
Museum Rotterdam, RotterdamMuseum Rotterdam Rotterdam 1 Portrait of (possibly) Charlotte Bernaige (1719-1777)
Centraal Museum, UtrechtCentraal Museum Utrecht 1 Portrait of Aletta Lucretia Martens (1715-1782). Wife of Antonie Francois Godin
Museum Martena, WaadhoekeMuseum Martena Waadhoeke 1 Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange, Mattheus Verheyden, c. 1755

Mattheus Verheyden, her on yıldan bir imza tablo

On yıllara göre eserler

O dönemi tanımlayan orijinal eseri görmek için bir on yıl seçin.

Mattheus Verheyden'in tabloları: galeri yanıtları

Tüm Mattheus Verheyden tabloları arasında en ünlüsü hangisidir?Cevabı göster

Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 (1750), Rijksmuseum, Amsterdam. Ardından Portrait of Charlotte Beatrix Strick van Linschoten (1755) ve Portret van Maria Hartmans de Custere (1755) geliyor.

Mattheus Verheyden, Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 eserini tamamladığında kaç yaşındaydı?Cevabı göster

50 yaşında: Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 1750 yılına aittir ve Mattheus Verheyden 1700 yılında doğmuştur.

Mattheus Verheyden sanatçısının en iyi 10 tablosu hangileridir?Cevabı göster

Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750, Portrait of Charlotte Beatrix Strick van Linschoten, Portret van Maria Hartmans de Custere, Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind, Willem Kettingh (d 1670). Chief Treasurer and Bailiff of the Prince of Orange, Portrait of Agnes Margaretha Albinus, Wife of Coenraad van Heemskerck, Portrait of Frederik Willem Torck (1691-1761), Portrait of Jacoba Maria van Wassenaer van Duvenvoorde (1709-1771), Portrait of (possibly) Charlotte Bernaige (1719-1777) ve Portrait of Aletta Lucretia Martens (1715-1782). Wife of Antonie Francois Godin. Yukarıdaki sıralama, her birinin yapım yılını ve bulunduğu müzeyi göstermektedir.

Mattheus Verheyden kaç eser yarattı?Cevabı göster

Kataloğumuzda Mattheus Verheyden tarafından 1728 ile 1762 tarihleri arasında üretilmiş 18 eser bulunmaktadır.

Mattheus Verheyden'in en ünlü orijinal eserleri nerede sergileniyor?Cevabı göster

Çoğunlukla Rijksmuseum (Amsterdam), Huis Zypendaal (Arnhem) ve Museum Het Valkhof (Nijmegen) bünyesinde yer almaktadır. Yukarıdaki müze tablosu tümünü listelemektedir.

Mattheus Verheyden en ünlü tablolarını ne zaman yaptı?Cevabı göster

1750s döneminde: Bu sayfadaki 18 eserin 10 tanesi o dönemde yapılmıştır, bunların Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 tanesi ise Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750 arasındadır.

Mattheus Verheyden'in en erken ve en geç dönemlerine ait ünlü eserleri hangileridir?Cevabı göster

Bu sayfadaki en eski eser Charlotte Maria Leidecker (1695-1746). Echtgenote van Joan van Riebeeck, met een kind (1728), en yeni eser ise Portrait of Christoffel van den Bergh (1702-1762) (1762)'dir.

Mattheus Verheyden en çok hangi konulara geri döndü?Cevabı göster

Woman (4), Landscape (3) ve Lace (2), bu sayfadaki 18 eser genelinde.

Mattheus Verheyden en çok hangi teknikle çalıştı?Cevabı göster

Bu sayfadaki 18 eserin 5 tanesi Oil On Canvas türündedir.

Mattheus Verheyden hangi akımla ilişkilendiriliyor?Cevabı göster

bu sayfadaki orijinallerine bakılırsa Baroque,

Rijksmuseum bünyesinde hangi Mattheus Verheyden orijinalleri bulunuyor?Cevabı göster

Portrait of Coenraad van Heemskerck, Count of the Holy Roman Empire, Lord of Achttienhoven and Den Bosch, Mattheus Verheyden, 1750, Portrait of Charlotte Beatrix Strick van Linschoten ve Portret van Maria Hartmans de Custere: Rijksmuseum, Amsterdam, bu sayfadaki eserlerden 8 tanesine ev sahipliği yapmaktadır.

Mattheus Verheyden: sanatçı

A Life Etched in Likeness: The World of Mattheus Verheyden

Mattheus Verheyden, born in the Dutch city of Breda in 1700, emerged as a significant, though often understated, voice within the tradition of 18th-century portraiture. His life story is one marked by early hardship and nurtured talent, ultimately blossoming into a career dedicated to capturing the essence of his era’s elite. Orphaned at a young age – losing his mother in infancy and his father, also a painter named Franck Pietersz Verheyden, before receiving formal instruction from him – Mattheus' artistic path was initially uncertain. Remarkably, he began painting at the tender age of seventeen, demonstrating an innate aptitude that would soon be recognized and fostered by the civic authorities of Breda. Becoming a ward of the city following his father’s death in 1711, Verheyden was granted the opportunity to study with leading artists of the time, setting the stage for a career defined by refined skill and perceptive observation.

Formative Years and Artistic Influences

Verheyden's artistic education was carefully orchestrated, reflecting a commitment to providing him with a well-rounded foundation in the prevailing styles. His initial training took place under Hendrik Carré II in The Hague, where he honed his compositional abilities and developed an eye for detail. This period was followed by diligent study of the works of Constantijn Netscher, whose refined brushwork and elegant aesthetic left a lasting impression on Verheyden’s own style. He also immersed himself in the paintings of Carel de Moor and Augustinus Terwesten II, absorbing their mastery of classical portraiture techniques. These influences weren't merely imitative; rather, Verheyden synthesized them into a unique artistic voice, blending Baroque sensibilities with an emerging Rococo grace. The impact of these masters is visible in his meticulous attention to texture, the subtle play of light and shadow, and the ability to convey both physical likeness and psychological depth within his portraits.

A Portraitist of Breda and Beyond

By 1722, Verheyden contemplated a journey to England, but paused in Amsterdam to accept portrait commissions – a testament to his growing reputation even at this early stage. He ultimately returned to Breda, fulfilling obligations to the regents who had supported his education and settling his inheritance. However, it was in Breda that he found both artistic fulfillment and personal happiness, falling in love with Margareta Kraeimes and choosing marriage over a transatlantic voyage. This decision cemented his commitment to serving as the primary portraitist for the leading citizens of Breda and, increasingly, The Hague. He meticulously documented his subjects – a practice partially preserved through records compiled by Johan van Gool – painting prominent figures such as François van Aerssen, Lord of Sommelsdijk (1728), Coenraad van Heemskerck, Count of the Holy Roman Empire (1750), and Gerard Cornelis van Riebeeck (1755). These works weren’t simply exercises in representation; they were statements of social standing, carefully constructed images designed to project power, wealth, and refinement.

Style, Legacy, and Historical Context

Verheyden's style is characterized by a refined elegance and an unwavering commitment to realism. He possessed a remarkable ability to capture not only the physical features of his sitters but also their individual personalities and social status. His portraits are often distinguished by rich fabrics, sophisticated poses, and a masterful use of light and shadow to create depth and dimension. While primarily focused on portraiture – reflecting the strong demand for such paintings among the Dutch elite – Verheyden rarely ventured into other genres. He was a member of the Confrerie Pictura until 1762, an organization that fostered artistic collaboration and recognition within The Hague’s vibrant art scene. Though perhaps not as widely celebrated as some of his contemporaries, Mattheus Verheyden played a crucial role in preserving the visual memory of influential figures during a pivotal period in Dutch history. His portraits offer invaluable insights into the social and political landscape of the 18th century, representing a continuation of the esteemed Dutch portrait tradition with skill, artistry, and an enduring sense of grace.