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） · 5 件 Godfried Maes 作品收录于我们的目录中
简而言之
在 Godfried Maes 留下的所有原作中，最著名的当属收藏于 圣彼得堡 冬宫博物馆 的《Holy Family (1682)》。 紧随其后的是 The Martyrdom of Saint George (1681) 和 Saint Martin raising a man from the dead (1687)。 我们的目录收录了 Godfried Maes 的 5 件作品；画廊完整保留了 4 件享誉世界的杰作，并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。
In this intimate oil on canvas, we find ourselves drawn into a private, tender moment shared by the Holy Family. The composition relies on a subtle diagonal movement, guiding the eye from the seated Virgin Mary on the left toward the Christ Child and Saint Joseph on the right. There is a profound sense of stillness here, despite the dynamic arrangement of the figures. The light is handled with a…
收藏了本页中大部分画作的 3 家博物馆。
| 博物馆 | 城市 | Godfried Maes 的作品 | 此列表中的画作 |
|---|---|---|---|
 冬宫博物馆 |
圣彼得堡 | 1 | Holy Family |
 安特卫普皇家美术馆 |
安特卫普 | 1 | The Martyrdom of Saint George |
 Museum of Fine Arts Ghent (MSK) |
根特 | 1 | Saint Nicholas of Myra |
仅仅十年间，从 1681 到 1689，这一系列作品涵盖了每一件带有年份标记的 Godfried Maes 原作：在此按年份为您呈现。
选择年份以查看原作。
In this intimate oil on canvas, we find ourselves drawn into a private, tender moment shared by the Holy Family. The composition relies on a subtle diagonal movement, guiding the eye from the seated Virgin Mary on the left toward the Christ Child and Saint Joseph on the right. There is a profound sense of stillness here, despite the dynamic arrangement of the figures. The light is handled with a…
Holy Family (1682)，冬宫博物馆, 圣彼得堡。紧随其后的是 The Martyrdom of Saint George (1681) 和 Saint Martin raising a man from the dead (1687)。
33岁：Holy Family创作于1682年，Godfried Maes出生于1649年。
我们的目录收录了 5 件 Godfried Maes 的作品，创作年代从 1681 年至 1689 年。
多见于 冬宫博物馆 (圣彼得堡), 安特卫普皇家美术馆 (安特卫普) 及 Museum of Fine Arts Ghent (MSK) (根特)。上方的博物馆列表列出了所有相关机构。
在本页面中，最早的作品创作于 The Martyrdom of Saint George (1681)，最晚的创作于 Saint Nicholas of Myra (1689)。
In the vibrant, artistic heart of seventeenth-century Antwerp, a period defined by the dramatic interplay of light and shadow, Godfried Maes emerged as a master of the grand narrative. Born in 1649 to a lineage of artists, Maes was steeped in the traditions of the Southern Netherlands from his very first breaths. As the son of the painter Godfried Maes, his apprenticeship began within the intimate confines of his father's studio, where the fundamentals of form and color were etched into his developing mind. This early immersion provided him with a profound technical foundation, which he later refined under the tutelage of the esteemed history painter Pieter van Lint. By 1672, Maes had achieved the prestigious status of master within the Antwerp Guild of Saint Luke, marking the beginning of a career that would see him rise to become the Dean of the Guild in 1682.
Maes’s artistic journey was one of immense scale and profound devotion. He did not merely paint; he constructed worlds of spiritual and mythological significance. His repertoire was vast, ranging from the solemnity of religious altarpieces to the complex, swirling allegories that adorned the ceilings of Europe's most opulent palaces. Whether he was capturing the martyrdom of a saint or the ethereal beauty of a classical myth, his work possessed a certain classicist gravity that positioned him as one of the final, magnificent voices of the Flemish Baroque tradition. His ability to command large-scale compositions allowed him to serve a prestigious clientele, including the high nobility and the influential clergy of Antwerp, Brussels, and Liège.
Beyond the canvas, Maes was a visionary designer whose influence extended into the very fabric of aristocratic life. He was a prolific draughtsman, a skill that made him an indispensable collaborator for the great tapestry workshops of his era. His intricate designs, or cartoons, were often realized by the workshop of Urbanus Leyniers in Brussels, translating his fluid pen strokes into monumental woven masterpieces. This versatility—moving between the delicate precision of black chalk and ink drawings and the sweeping grandeur of ceiling decorations—demonstrates an artist of rare breadth. His work for Eugen Alexander Franz, 1st Prince of Thurn and Taxis, featured allegorical scenes that glorified a powerful dynasty, proving that Maes was as much a political storyteller as he was a religious painter.
The twilight of his career was marked by some of his most ambitious decorative undertakings. Between 1697 and 1700, Maes was entrusted with the decoration of the ceiling at the Palace of Coudenberg in Brussels for Maximilian II Emanuel, Elector of Bavaria. In this monumental project, he wove together themes of Peace and Freedom, accompanied by the muses Calliope and Clio, creating a celestial vision that celebrated the stability of the state. Though his life was cut short in 1700, leaving him to be interred in the St. James Church in Antwerp, the echoes of his artistry remained. Through his teaching of subsequent masters and his enduring contributions to the decorative arts, Godfried Maes ensured that the splendor of the Flemish tradition would continue to inspire long after the final brushstroke had dried.
