更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 41 件 凯撒·范·埃弗丁根 作品收录于我们的目录中
简而言之
Woman praying (1650) 是 凯撒·范·埃弗丁根 最受瞩目的画作；原作收藏于 阿姆斯特丹 的 国家博物馆。 随后，目光会移向 Jupiter and Callisto (1655) 和 Winter (1646)。 在 凯撒·范·埃弗丁根 的 41 件作品中，这 41 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
A single mask lies discarded in the upper corner, a silent witness to a deception. Beneath it, the nymph Callisto reclines upon heavy folds of fabric, her skin catching a pale, directional light that carves her form from the surrounding gloom. She looks upward, her gaze meeting the eyes of a man she believes to be a friend, yet the viewer sees the truth of his divinity. Jupiter stands near…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
This work, titled Vertumnus and Pomona, is a significant example of the mythological painting produced by Caesar van Everdingen. The piece is dated about 1637–1640, a period during which the artist was establishing his presence within the Dutch Golden Age. It is a work that captures a specific moment of classical narrative, rendered with the precision characteristic of his training in Utrecht.
In this 1641 portrait, we find ourselves standing before a dense assembly of men, the officers of the Orange Company of the Old Civic Guard. There is a certain weight to the composition, a horizontal arrangement that feels both crowded and deeply organized. These men are not merely subjects; they are a collective force, their postures providing a structural rhythm to the canvas. The lighting, descending from the upper left,…
This 1636 oil portrait presents a three-quarter length view of an elderly woman, Aechje Claesdr. Moer, set against a somber, atmospheric backdrop. The composition relies on a sharp tonal contrast between her dark, light-absorbing gown and a large, bright white ruff collar. This millstone ruff, with its rhythmic pleats, directs the eye toward the subject's face, which is rendered with naturalistic precision. A soft, directional light enters from the upper…
A woman occupies the foreground, her gaze directed toward the viewer from a waist-up perspective. She is positioned within a rural, village setting characterized by traditional thatched-roof huts and sparse vegetation. The composition utilizes linear perspective to draw the eye toward these structures, creating a sense of depth behind the central figure. Natural, bright daylight illuminates the scene, casting soft shadows that define the textures of her skin and the…
This Baroque-style oil painting presents an intimate mythological scene featuring two figures, Vertumnus and Pomona, set against a dark and atmospheric landscape. The composition centers on a tactile exchange of fruit between a seated figure on the left and a woman on the right. The scene is characterized by a dramatic use of chiaroscuro, where light highlights the faces and hands of the subjects while casting much of the background…
The work before us is the Portrait of an unknown girl, a quiet study by the Dutch Golden Age painter Caesar van Everdingen. This portrait, which is also known by the titles Girl in a Large Hat or Meisje met brede hoed, offers a glimpse into the meticulous portraiture practiced during the mid-17th century. It captures a sense of individual presence through a restrained and dignified approach to the subject.
Officers and standard-bearers of New Civic Guard in Alkmaar1657 · Stedelijk Museum
12
Portrait of Cornelis Jacobsz. Groot (?-1661)1656 · Kunsthandel P. de Boer
13
Four Muses and Pegasus on Parnassus1650 · Huis ten Bosch
14
Lycurgus Demonstrates the Benefits of Education1660 · Stedelijk Museum
15
Self-portrait of Caesar van Everdingen (?-1678)1670 · Stedelijk Museum
16
Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot1664 · Kunsthandel P. de Boer
17
Portrait of Wollebrand Geleynsz de Jongh (1594-1674), with a servant and a child1674 · Stedelijk Museum
18
Four Evangelists: John1676 · Stedelijk Museum
19
Four Evangelists: Luke1676 · Stedelijk Museum
20
Four Evangelists: Mark1676 · Stedelijk Museum
21
Joueuse de Cistre1678 · 鲁昂美术馆
22
Allegory of the Birth of Frederik Hendrik1650 · Huis ten Bosch
23
Female Figure, possibly Lucretia1793 · 国家博物馆
24
Diogenes Seeks a True Man1652 · 玛乌里诗博物馆
25
Still-Life with a Bust of Venus1665 · 玛乌里诗博物馆
26
View of the Oranjezaal1650 · Huis ten Bosch
27
Amor Holding a Glass Orb1660
28
Count Willem II of Holland Granting Privileges1655 · Gemeenlandshuis
29
Officers and Standard-Bearers of the Old Civic Guard1657 · Stedelijk Museum
30
Nymphs Offering the Young Bacchus Wine, Fruit and Flowers1670 · Museum Kunstpalast
31
Holy Family1660 · Museum Catharijneconvent
32
Portrait of a Girl as a Huntress1665 · 皇家美术馆安特卫普
33
Portrait of a Two-Year-Old Boy1664 · Cannon Hall Museum
34
Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 16711671 · 国家博物馆
35
Willem Jacobsz Baert (1636-84), Burgomaster of Alkmaar and Amsterdam, Caesar Boëtius van Everdingen, 16711671 · 国家博物馆
36
The four muses with pegasusHuis ten Bosch
37
Portrait of a Dutch Commander国家美术馆
38
Bacchus with Two Nymphs And Cupid
39
Pan and Syrinx, Caesar Boëtius van Everdingen, c. 1637 - c. 16401640 · 国家博物馆
40
Girl in a Large Hat1647 · 国家博物馆
41
Bacchus with Nymphs and Cupid1660 · Gemäldegalerie
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 凯撒·范·埃弗丁根 的作品 | 此列表中的画作 |
|---|---|---|---|
 Stedelijk Museum |
Alkmaar | 11 | Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Portrait of Pieter Cornelisz. van Everdingen (1575-1662) |
 国家博物馆 |
阿姆斯特丹 | 6 | Woman praying, Winter, Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 1671 |
 Huis ten Bosch |
The Hague | 4 | Four Muses and Pegasus on Parnassus, Allegory of the Birth of Frederik Hendrik, View of the Oranjezaal |
 国家博物馆 |
斯德哥尔摩 | 2 | Jupiter and Callisto, Female Figure, possibly Lucretia |
 Kunsthandel P. de Boer |
2 | Portrait of Cornelis Jacobsz. Groot (?-1661), Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot | |
 玛乌里诗博物馆 |
海牙 | 2 | Diogenes Seeks a True Man, Still-Life with a Bust of Venus |
 提森·博爾涅米薩博物館 |
馬德里 | 1 | Vertumnus and Pomona |
 J·保罗·盖蒂博物馆 |
洛杉矶 | 1 | Vertumnus and Pomona |
选择一个年代，探索定义该时代的原创杰作。
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures across multiple levels—from a raised platform in the rear to steps and seated positions in the foreground. A central group dominates the immediate view, while other figures recede into the distance. Diagonals cut through the scene, pulling the eye through the gathering…
This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers a direct encounter with the artist himself during his later years. It is a significant example of the individual's ability to capture his own likeness with a sense of dignity and introspection.
Woman praying (1650)，国家博物馆, 阿姆斯特丹。紧随其后的是 Jupiter and Callisto (1655) 和 Winter (1646)。
34岁：Woman praying创作于1650年，凯撒·范·埃弗丁根出生于1616年。
Woman praying, Jupiter and Callisto, Winter, Vertumnus and Pomona, Vertumnus and Pomona, Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Portrait of Pieter Cornelisz. van Everdingen (1575-1662), Vertumnus and Pomona 及 Portrait of an unknown girl。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 41 件 凯撒·范·埃弗丁根 的作品，创作年代从 1631 年至 1678 年。
多见于 Stedelijk Museum (Alkmaar), 国家博物馆 (阿姆斯特丹) 及 Huis ten Bosch (The Hague)。上方的博物馆列表列出了所有相关机构。
在 1650s 期间：本页 41 件作品中有 12 件创作于该时期，其中包含 Woman praying 件作品。
在本页面中，最早的作品创作于 Vertumnus and Pomona (1631)，最晚的创作于 Joueuse de Cistre (1678)。
Woman (13), Man (11) 及 Drapery (5)，共计 41 件作品。
Oil On Canvas，共计 15 件（本页共有 41 件作品）。
根据本页面的原作，Baroque 及 Dutch golden age
Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) 及 Portrait of Pieter Cornelisz. van Everdingen (1575-1662)：Stedelijk Museum, Alkmaar收藏了本页中 11 件作品。
在荷兰绘画的黄金时代，光与影的交织定义了一个国家的视觉灵魂，而凯撒·范·埃弗丁根（Caesar van Everdingen）正是在这一背景下脱颖而出，成为捕捉细腻情感与大气深度的艺术大师。他于1616年左右出生在荷兰历史悠久的阿尔克马尔市，其艺术生涯与家族显赫的传承紧密相连。尽管在艺术史的讨论中，他常与成名的兄弟阿拉特（Allart）和扬（Jan）并提，但凯撒却在荷兰黄金时代中开辟了属于自己的独特天地。早年在乌得勒支师从德高望重的扬·格里茨·范·布隆霍斯特（Jan Gerritsz van Bronckhorst），这段经历为他奠定了严谨的古典美学基础，赋予了他一种精准的笔触，使他日后能够超越单纯的技术磨练，实现真正的艺术远见。
1632年，随着他正式加入阿尔克马尔的画家公会，他的职业生涯开始稳步攀升。在这些成长期中，他的作品集以细致入微的人物肖像和充满感染力的风俗场景为特征，这些创作需要对人类生存状态进行深刻而敏锐的观察。然而，随着才华的成熟，他的艺术抱负也随之扩张。他不再局限于写实的描摹，而是开发出一种独特的技艺，通过操控笔触来捕捉光影转瞬即逝的细微差别以及空气中弥漫的厚重感。这种演变标志着他从一名技艺精湛的匠人，蜕变为一位能够为画布注入生命的远见画家。
1648年，范·埃弗丁根的人生迎来了关键性的篇章，他迁居到了充满活力且文化底蕴深厚的哈勒姆市。这次迁徙不仅仅是环境的更迭，更是一次向荷兰艺术核心地带的深度沉浸。通过加入声名显赫的哈勒姆圣路加公会，并活跃于民兵组织（schutterij）之中，凯撒成功地将自己融入了这座城市社会与政治精英的肌理之中。这些深厚的人脉关系，为他赢得了足以定义其历史地位的重要委约创作。
或许他职业生涯中最令人叹为观止的成就，莫过于参与了豪斯登博斯宫（Huis ten Bosch）内橙色大厅（Oranje Zaal）的装饰工作。这项宏伟的工程要求艺术家必须精通大规模的历史画创作——这种流派既需要复杂的叙事能力，又需具备宏大的空间尺度。在这一舞台上，凯撒展示了他构筑史诗场景的高超技艺，将历史的庄重感与细腻的情感触觉完美融合。他这一时期的作品展现了处理复杂构图的蓬勃能力，确保了他的名字被铭刻在荷兰的建筑艺术史册之中。
在晚年，凯撒回到了他的故乡阿尔克马尔，建立了一间工作室，这里成为了艺术传授的圣殿。他生命的这一阶段，充满了对精益求精的执着以及对培养新一代画家的热忱。他的晚期作品反映了他一生积累的智慧，其特征是对于天界与空灵主题持久而迷恋的探索。他因描绘带翼的人物——天使与神圣生物——而闻名遐迩，这些形象通过柔和的笔触呈现，仿佛暗示着崇高境界的存在。
凯撒·范·埃弗丁根的意义不仅在于他个人的传世杰作，更在于他扮演了连接17世纪早期严谨传统与随后出现的更具情感化、氛围感风格的桥梁。他能够将荷兰肖像画的精准度与历史叙事的宏大感融为一体，这至今仍是他艺术多面性的有力证明。时至今日，他的作品依然是窥探荷兰黄金时代灵魂的重要窗口，提醒着我们：在那个时代，每一笔触都是试图在转瞬即逝的表象中捕捉永恒的尝试。
