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） · 17 件 Daniel Seiter 作品收录于我们的目录中
简而言之
Martyrdom of Saint Erasmus (1676) 是 Daniel Seiter 最受瞩目的画作；原作收藏于 慕尼黑 的 巴伐利亚州绘画收藏馆。 随后，目光会移向 The Good Samaritan (1676) 和 Venus with Ceres and Bacchus (1676)。 在 Daniel Seiter 的 17 件作品中，这 17 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。
Created about 1676, this oil painting by Daniel Seiter captures a moment of intense physical suffering. The work focuses on the martyrdom of Saint Erasmus, centering on the specific torture of the saint. The composition emphasizes the mechanical cruelty of the act, depicting the winding of intestines around a windlass.
The Good Samaritan is a significant work by the painter Daniel Seiter. Created about 1676, this piece reflects the hand of an artist who was born in Vienna, Austria. Seiter’s presence in the art world was marked by a career that spanned much of the late seventeenth century, until his death in 1705.
In Daniel Seiter's Venus with Ceres and Bacchus, a crowded, pyramidal arrangement of three mythological figures emerges from a dark, atmospheric background. Venus reclines upon a soft, cloud-like surface, her nude form angled toward the viewer while her head turns upward and to the right. To her side, the male figure Bacchus appears in profile, leaning forward with muscular definition as he holds a vessel. Between these two, Ceres looks…
In this dramatic Baroque-style oil painting, Daniel Seiter captures the profound tragedy of the "Suicide of Lucretia." Created about 1676, the work focuses on the intense emotional weight of the subject's final moments. The scene is rendered with a sense of intimacy that draws the viewer into the immediate, private nature of her despair. It is a quiet yet heavy moment of transition, captured through the lens of late 17th-century…
The oil on canvas titled Diana next to the Corpse of Orion was painted by Daniel Seiter about 1685. This work captures a heavy, silent moment of myth. It depicts the goddess Diana as she discovers the fallen body of Orion. The scene freezes the hunter in the stillness of death, just before his form is cast into the stars of the heavens.
This two-dimensional work of art, titled Armida and Rinaldo, was executed by the Viennese-born Baroque painter Daniel Seiter. Created about 1700, the painting captures a moment of intense human connection between the two central figures. Seiter, who moved from his origins near the Swiss-Austrian border to the artistic hubs of Venice and Rome, brings a specific sense of drama to this scene.
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 3 家博物馆。
| 博物馆 | 城市 | Daniel Seiter 的作品 | 此列表中的画作 |
|---|---|---|---|
 巴伐利亚州绘画收藏馆 |
慕尼黑 | 6 | Martyrdom of Saint Erasmus, The Good Samaritan, Venus with Ceres and Bacchus |
 国家美术、建筑与设计博物馆 |
奥斯陆 | 1 | Armida and Rinaldo |
 Accademia di San Luca |
罗马 | 1 | Lot and His Daughters |
选择一个年代，探索定义该时代的原创杰作。
Created about 1676, this oil painting by Daniel Seiter captures a moment of intense physical suffering. The work focuses on the martyrdom of Saint Erasmus, centering on the specific torture of the saint. The composition emphasizes the mechanical cruelty of the act, depicting the winding of intestines around a windlass.
The oil on canvas titled Diana next to the Corpse of Orion was painted by Daniel Seiter about 1685. This work captures a heavy, silent moment of myth. It depicts the goddess Diana as she discovers the fallen body of Orion. The scene freezes the hunter in the stillness of death, just before his form is cast into the stars of the heavens.
This two-dimensional work of art, titled Armida and Rinaldo, was executed by the Viennese-born Baroque painter Daniel Seiter. Created about 1700, the painting captures a moment of intense human connection between the two central figures. Seiter, who moved from his origins near the Swiss-Austrian border to the artistic hubs of Venice and Rome, brings a specific sense of drama to this scene.
Martyrdom of Saint Erasmus (1676)，巴伐利亚州绘画收藏馆, 慕尼黑。紧随其后的是 The Good Samaritan (1676) 和 Venus with Ceres and Bacchus (1676)。
27岁：Martyrdom of Saint Erasmus创作于1676年，Daniel Seiter出生于1649年。
Martyrdom of Saint Erasmus, The Good Samaritan, Venus with Ceres and Bacchus, Suicide of Lucretia, Diana next to the Corpse of Orion, Armida and Rinaldo, View of the Galleria del Daniel, Ceiling of the Galleria del Daniel (centre section), Ceiling of the Galleria del Daniel (south section) 及 Ceiling decoration。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 17 件 Daniel Seiter 的作品，创作年代从 1676 年至 1700 年。
多见于 巴伐利亚州绘画收藏馆 (慕尼黑), 国家美术、建筑与设计博物馆 (奥斯陆) 及 Accademia di San Luca (罗马)。上方的博物馆列表列出了所有相关机构。
在 1690s 期间：本页 17 件作品中有 7 件创作于该时期，其中包含 View of the Galleria del Daniel 件作品。
在本页面中，最早的作品创作于 Martyrdom of Saint Erasmus (1676)，最晚的创作于 Armida and Rinaldo (1700)。
Man (6), Woman (5) 及 Skin (3)，共计 17 件作品。
Oil，共计 5 件（本页共有 17 件作品）。
根据本页面的原作，Baroque
Martyrdom of Saint Erasmus, The Good Samaritan 及 Venus with Ceres and Bacchus：巴伐利亚州绘画收藏馆, 慕尼黑收藏了本页中 6 件作品。
Daniel Seiter remains a figure shrouded in artistic mystery, largely due to the scarcity of reliable biographical information that survives from his era. However, what emerges from scholarly accounts—primarily Houbraken’s Lives of Distinguished Artists, published in 1718—paints a portrait of a Viennese painter who decisively embraced the Venetian Baroque tradition and achieved considerable renown throughout Europe. Born around 1642/1647, likely on the border between Switzerland and Austria, Seiter’s early life remains obscure, yet his artistic journey would eventually lead him to the most prestigious studios of Italy.
His formative years were defined by a profound connection to the Venetian school. Records indicate he received his initial artistic training in Venice, where he apprenticed with Johann Carl Loth—a partnership that profoundly shaped his stylistic sensibilities. The influence of Loth is unmistakable in Seiter’s meticulous attention to detail, his masterful use of tenebroso—the dramatic interplay of deep shadows and piercing light—and his dynamic compositions reminiscent of the great Venetian masters. This foundation allowed him to develop a technique so seamless that contemporary critics often found it impossible to distinguish his hand from that of his mentor.
As his talent matured, Seiter’s ambitions drew him toward Rome, where he continued to refine his craft within the studio of Carlo Maratta. It was during this period that he became part of the Bentvueghels, a spirited society of artists dedicated to documenting landscapes and exploring new visual frontiers. Within this group, he adopted the moniker “Marantello” or “Morgenstar,” a name reflecting his penchant for capturing ethereal dawn scenes and the soft, burgeoning light of new beginnings. This association fostered a fascination with exotic cultures and contributed to his artistic exploration of dramatic, sweeping visual narratives.
Seiter’s work during this era exemplifies the grandeur of the Baroque period, blending religious devotion with theatrical spectacle. His most celebrated works include the Martyrdom of St Catherine (1685) and the Martyrdom of St Lawrence, monumental frescoes that adorn the vestibule of Santa Maria del Popolo in Rome. These paintings are not merely depictions of suffering; they are profound theological contemplations rendered through artistic virtuosity, where every muscle tension and every drop of light serves to elevate the spiritual narrative.
The reach of Seiter’s influence extended far beyond the borders of Italy, as his reputation for excellence earned him the patronage of European royalty. He served as a court painter for Victor Amadeus II of Sardinia and undertook significant commissions in Turin, where his breathtaking frescoes transformed the Royal Palace into a testament to Baroque grandeur. His dedication to his craft was so highly regarded that he was eventually knighted by Victor Amadeus II, a rare and prestigious recognition of his artistic excellence.
Beyond his religious iconography, Seiter demonstrated a remarkable ability to breathe life into classical mythology. Works such as The Judgment of Paris (1699) and Apollo and Daphne showcase his mastery of complex figure arrangements and vibrant color palettes. In these canvases, the viewer is transported to an ancient world where gods and mortals interact with intense emotion and fluid movement. Today, Seiter is remembered as a bridge between the rigorous traditions of the North and the luminous, dramatic spirit of the Italian Baroque, leaving behind a legacy of light, shadow, and enduring beauty.
