Оновлено Листопад 2026 · за рейтингом нашої популярності (кількість пошукових запитів, переглядів та замовлень для кожної роботи) · 14 робіт Йозеф Ван Леріус у нашому каталозі
Коротко кажучи
Self-portrait (1852) — це картина Йозеф Ван Леріус, яка привертає найбільше уваги; оригінал зберігається в Королівський музей витончених мистецтв Антверпена, Антверпен. Після цього погляд переходить на Madame LeDelier (1854) та Young Girl from the Hotzenwald (1852). Серед 14 робіт Йозеф Ван Леріус у нашому каталозі ці 14 є найвідомішими: кожна з них — унікальний оригінал із зазначенням року створення, музею та причини її безсмертя.
The oil painting titled Self-portrait is a direct gaze from the artist Jozef Van Lerius. Created in 1852, the work captures the man behind the brush during a period of significant transition in his life. He was born on 23 December 1823 in Boom, Antwerp, Belgium, and would eventually pass away on 29 February 1876 in Mechelen.
5 музеїв, у яких зберігається найбільша кількість картин із цього списку.
| Музей | Місто | Твори Йозеф Ван Леріус | Картини зі цього списку |
|---|---|---|---|
 Королівський музей витончених мистецтв Антверпена |
Антверпен | 8 | Self-portrait, Madame LeDelier, Madame Valentine De Give-LeDelier as a Child |
 Museum Mayer van den Bergh |
Антверпен | 3 | Henriëtte Mayer van den Bergh, Portrait of Henriette Mayer van den Bergh, Henriette Mayer van den Bergh |
 Augustiner Museum |
Фрайбург | 1 | Young Girl from the Hotzenwald |
 Amsterdam Museum |
Амстердам | 1 | Girl from Dalarne |
 Смитсонівський музей американського мистецтва |
Вашингтон, округ Колумбія | 1 | Brides of Venice |
Оберіть десятиліття, щоб побачити оригінальний твір, який його визначає.
The oil painting titled Self-portrait is a direct gaze from the artist Jozef Van Lerius. Created in 1852, the work captures the man behind the brush during a period of significant transition in his life. He was born on 23 December 1823 in Boom, Antwerp, Belgium, and would eventually pass away on 29 February 1876 in Mechelen.
Self-portrait (1852), Королівський музей витончених мистецтв Антверпена, Антверпен. Далі йдуть Madame LeDelier (1854) та Young Girl from the Hotzenwald (1852).
29 років: Self-portrait датована 1852 роком, а Йозеф Ван Леріус народився(-лася) у 1823.
Self-portrait, Madame LeDelier, Young Girl from the Hotzenwald, Girl from Dalarne, Henriëtte Mayer van den Bergh, Portrait of Henriette Mayer van den Bergh, Madame Valentine De Give-LeDelier as a Child, Two Children Playing Around, Princess Herminie de Looz et Corswarem та Brides of Venice. У рейтингу вище вказано рік створення та музей для кожної картини.
Наш каталог містить 14 робіт Йозеф Ван Леріус, датованих періодом з 1852 по 1871.
Переважно в Королівський музей витончених мистецтв Антверпена (Антверпен), Museum Mayer van den Bergh (Антверпен) та Augustiner Museum (Фрайбург). У таблиці музеїв вище наведено їхній повний перелік.
У 1850s: 8 із 14 робіт на цій сторінці були створені тоді, серед них Self-portrait.
На цій сторінці найдавніша робота датована Self-portrait (1852), а найновіша — Brides of Venice (1871).
Self-portrait, Madame LeDelier та Madame Valentine De Give-LeDelier as a Child: Королівський музей витончених мистецтв Антверпена, Антверпен зберігає 8 робіт із цієї сторінки.
Jozef Van Lerius was born on 23 December 1823 in Boom, Antwerp, Belgium. His technical foundation was established early through rigorous institutional training. By 1838, he was already working as an apprentice draftsman at the Académie Royale des Beaux-Arts in Brussels. This early exposure to formal drafting provided the structural discipline that would define his later output.
The trajectory of his development shifted toward Antwerp, where he studied under Gustave Wappers. From 1839 to 1844, Van Lerius remained a student of Wappers, absorbing the specific methodologies of the Antwerp school. This period of instruction was not merely about technique; it was a direct immersion into the academic traditions of the time. His time in Wappers' circle provided the necessary technical grounding for a career that would eventually move into both instruction and high-level portraiture.
Van Lerius operated at the intersection of Romantic-Historical precision and the emerging clarity of Realism. His technical foundation relied on a dual mastery of draftsmanship and color. He was a thorough draughtsman, capable of rendering figures with a classical accuracy that defined his approach to both mythological and biblical scenes. This structural rigor allowed him to navigate complex compositions without losing the physical presence of his subjects. He was also a highly qualified colorist, using pigment to define form and mood rather than merely decorative surface detail.
His subject matter was broad, ranging from high-stakes historical and religious narratives to intimate genre pictures. He possessed a specific talent for depicting women and children, often imbuing these figures with a sense of psychological weight. Whether painting a glamorous lady of society or a domestic scene, his work maintained a consistent focus on the interplay between light and texture. This ability to balance the dramatic tendencies of Romanticism with a realistic attention to detail made his output highly versatile. His skill in handling color was particularly evident in his ability to render the shimmer of fabric or the subtle tones of human skin.
Van Lerius secured international recognition through high-profile acquisitions and exhibitions that placed his work in significant collections. In 1852, Queen Victoria purchased his painting Premier Né (First Born), a work depicting a young couple with a baby. This acquisition established his presence within royal circles. His reputation grew further through the exhibition of Virtue Triumphant, which was shown in Paris and Amsterdam in 1865. This specific piece earned him a gold medal and an election as an honorary member of the Academy.
His most recognized subject remains Lady Godiva, a work presented at the Antwerp Triennial Salon in 1870. The painting was acquired by the London art dealer Henry Graves, moving it into the sphere of major commercial art trade. His reach extended beyond Europe, with works finding their way to collections in San Francisco and St. Petersburg. Even in the United States, his influence persisted through public gifts; in 1909, the oil painting Cinderella and Her Sisters was donated to the Chillicothe & Ross County Public Library in Ohio, where it remains on display in the reference room today.
