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） · 40 件 扬·范·比尔斯 作品收录于我们的目录中
简而言之
在 扬·范·比尔斯 留下的所有原作中，最著名的当属收藏于 安特卫普 安特卫普皇家美术馆 的《Woman in White (1883)》。 紧随其后的是 Fisherwoman (1878) 和 The Woman with Stilts (1878)。 我们的目录收录了 扬·范·比尔斯 的 40 件作品；画廊完整保留了 39 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 "Woman in White" by Jan van Beers, the viewer meets a single woman posed gracefully upon a decorative bench. This portrait, created about 1883, is presented as an oval composition set within a dark, circular frame. This framing technique draws the eye inward, focusing all attention on the subject's calm dignity and poise. The perspective remains at a medium shot at eye level, creating an intimate encounter that feels…
In the vertical portrait titled Fisherwoman by Jan van Beers, a woman occupies the center of the frame, poised upon a set of stone steps. She carries herself with a dynamic energy, standing with one leg crossed over the other in a way that suggests a momentary pause in motion. Her attire is a striking shade of green, a satin-like dress that catches the light across its folds. A ruffled…
In this 1878 oil painting, we encounter a figure that commands the narrow space of the canvas through sheer verticality. A person dressed in theatrical, harlequin-style attire stands upon a stone staircase, balanced precariously on long wooden stilts. The composition is elongated, drawing the eye upward along the rigid lines of the stilts toward a wide-brimmed hat adorned with voluminous yellow ostrich feathers. There is a quiet tension in the…
The oil on canvas work titled Henriette Van Beers, the Artist's Sister is a portrait executed by the Belgian painter Jan van Beers. Created about 1875, this bust-length composition depicts a young woman positioned slightly off-center. The subject of the painting is the sister of the artist, Jan van Beers.
The oil painting titled Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier is a portrait executed by the Belgian artist Jan van Beers. This work, created about 1882, focuses on the likeness of a young girl. The subject is characterized by her blonde hair and a calm, neutral expression as she looks toward the viewer.
Willem van Saeftinghe, Lay Brother of Ter Doest Abbey is a portrait by Jan van Beers, executed about 1879. The work focuses on Willem van Saeftinghe, a lay brother belonging to the Cistercian abbey of Ter Doest in Lissewege, West Flanders, Belgium.
Jan Borluut, Patrician of Ghent is a portrait painted by Jan van Beers. The work was created about 1879. The subject of the painting is Jan Borluut, a man from Ghent who belonged to a wealthy patrician family of wool merchants. This lineage held magistrate positions in the city from the 13th to the 16th century.
The heavy air of a bedroom holds the weight of prophecy in Jacob van Maerlant Predicting Jan Breydel en Pieter de Coninck the Liberation of Flanders on his Deathbed. Painted about 1879, this work captures a moment where the past and the future collide through a dying man's vision. The scene centers on the final breaths of Jacob van Maerlant, a figure whose words and foresight reach out toward the…
The composer Peter Benoit is a portrait executed by the Belgian artist Jan van Beers. Created about 1883, the work captures the Flemish composer Peter Benoit in a formal, seated position. The subject is presented with a steady gaze and a relaxed yet dignified posture, reflecting his intellectual standing during the late nineteenth century.
A young woman sits in profile upon the green grass of a lush garden. She is positioned in the center of the composition, her body angled toward the viewer while her gaze remains fixed on the task at hand. She wears a yellow blouse and a cream-colored skirt, the fabric of which settles in soft folds around her seated form. Her hands are occupied with a single flower, from which…
Young Lady in a Feather Hat1881
12
Portrait of Charles Tyson Yerkes1893 · 国家肖像画廊
13
First appointment1897 · Rubens House
14
The funeral of Charles I, Count of Flanders, celebrated in Bruges in the Church of St. Christopher on 22 April 11271876 · Petit Palais
15
Flat Winter Landscape Covered with Snow1899 · Fries Museum
16
The Poet Jan Van Beers and his Wife, The Artist's Parents安特卫普皇家美术馆
17
Print
18
La vague
19
Allegory of Winter
20
In the hammock.
21
The Courtesan -
22
Love match
23
Lady of the DirectoireBrighton Museum & Art Gallery
24
Benoit door vBeers
25
Granvelle And The Witch
26
Portrait of a noble woman
27
Alice Antoinette De La Mar
28
The Melon seller
29
Untitled
30
When stars set安特卫普皇家美术馆
31
With Thoughts of Him
32
Promotional Calendar for Pfungst Freres Champagne
33
Portrait of a Young Woman
34
Souvenance.
35
The Courtesan
36
Portrait of a Man波士顿美术馆
37
Portrait of Henri Rochefort安特卫普皇家美术馆
38
On the Balcony
39
The Emperor Charles V as a Child安特卫普皇家美术馆
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 | 扬·范·比尔斯 的作品 | 此列表中的画作 |
|---|---|---|---|
 安特卫普皇家美术馆 |
安特卫普 | 11 | Woman in White, Henriette Van Beers, the Artist's Sister, Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier |
 加泰罗尼亚国家艺术博物馆 |
巴塞罗那 | 2 | Fisherwoman, The Woman with Stilts |
 国家肖像画廊 |
华盛顿特区 | 1 | Portrait of Charles Tyson Yerkes |
 Rubens House |
安特卫普 | 1 | First appointment |
 Petit Palais |
巴黎 | 1 | The funeral of Charles I, Count of Flanders, celebrated in Bruges in the Church of St. Christopher on 22 April 1127 |
 Fries Museum |
列沃瓦德 | 1 | Flat Winter Landscape Covered with Snow |
 Brighton Museum & Art Gallery |
Brighton and Hove | 1 | Lady of the Directoire |
 波士顿美术馆 |
波士顿 | 1 | Portrait of a Man |
选择一个年代，探索定义该时代的原创杰作。
In the vertical portrait titled Fisherwoman by Jan van Beers, a woman occupies the center of the frame, poised upon a set of stone steps. She carries herself with a dynamic energy, standing with one leg crossed over the other in a way that suggests a momentary pause in motion. Her attire is a striking shade of green, a satin-like dress that catches the light across its folds. A ruffled…
In "Woman in White" by Jan van Beers, the viewer meets a single woman posed gracefully upon a decorative bench. This portrait, created about 1883, is presented as an oval composition set within a dark, circular frame. This framing technique draws the eye inward, focusing all attention on the subject's calm dignity and poise. The perspective remains at a medium shot at eye level, creating an intimate encounter that feels…
The Portrait of Charles Tyson Yerkes is an oil painting by the Belgian artist Jan van Beers. Created about 1893, the work captures the likeness of the American financier Charles Tyson Yerkes Jr. The brushwork settles upon the subject with the weight of a formal sitting, fixing a moment of quiet authority in oil and pigment.
Woman in White (1883)，安特卫普皇家美术馆, 安特卫普。紧随其后的是 Fisherwoman (1878) 和 The Woman with Stilts (1878)。
31岁：Woman in White创作于1883年，扬·范·比尔斯出生于1852年。
Woman in White, Fisherwoman, The Woman with Stilts, Henriette Van Beers, the Artist's Sister, Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier, Willem van Saeftinghe, Lay Brother of Ter Doest Abbey, Jan Borluut, Patrician of Ghent, Jacob van Maerlant Predicting Jan Breydel en Pieter de Coninck the Liberation of Flanders on his Deathbed, The composer Peter Benoit 及 He loves me, he loves me not。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 40 件 扬·范·比尔斯 的作品，创作年代从 1875 年至 1899 年。
多见于 安特卫普皇家美术馆 (安特卫普), 加泰罗尼亚国家艺术博物馆 (巴塞罗那) 及 国家肖像画廊 (华盛顿特区)。上方的博物馆列表列出了所有相关机构。
在 1870s 期间：本页 39 件作品中有 7 件创作于该时期，其中包含 Fisherwoman 件作品。
在本页面中，最早的作品创作于 Henriette Van Beers, the Artist's Sister (1875)，最晚的创作于 Flat Winter Landscape Covered with Snow (1899)。
Woman (9), Man (4) 及 Flowers (3)，共计 39 件作品。
Oil，共计 7 件（本页共有 39 件作品）。
根据本页面的原作，Academic realism
Woman in White, Henriette Van Beers, the Artist's Sister 及 Carolina Amalia LeDelier, daughter of Valentine De Give - leDelier：安特卫普皇家美术馆, 安特卫普收藏了本页中 11 件作品。
扬·范·比尔斯 于 1852 年出生于比利时利尔（Liers），他不仅承袭了艺术的基因，更是诗人扬·范·比尔斯（Jan van Beers the Elder）之子。在艺术启蒙的熏陶下，他前往安特卫普皇家美术学院深造，在那里，他为日后在写实主义与浪漫主义交织的艺术道路上奠定了坚实的专业基础。
在艺术探索的早期阶段，扬·范·比尔斯不仅是一位创作者，更是一位引领潮流的人物。他曾领导着一群充满激情的年轻艺术家，这群人因其独特的风格而被后世称为“范·比尔斯派”（Van Beers clique）。这个群体由多位才华横溢的艺术家组成，其中包括 Piet Verhaert、Alexander Struys 以及 Jef Lambeaux。
这群艺术家以其离经叛道的行为举止而闻名，他们甚至热衷于穿着历史服饰，这种近乎戏剧化的生活方式反映了他们对过去时代的狂热向往。在创作初期，他们的目光主要聚焦于历史画，致力于通过笔触重现 文艺复兴 时期的辉煌与庄严。在这一时期的众多杰作中，其早期的代表作《查理善王之葬礼》（Funeral of Charles the Good）无疑展现了他对宏大叙事与历史厚重感的深刻理解。
1880年，扬·范·比尔斯移居巴黎，这一决定成为了他艺术生涯的重大转折点。 他逐渐告别了早年对宏大历史题材的执着，转而投身于风俗画与肖像画的创作领域。 在巴黎的艺术氛围熏陶下，他逐渐形成了一种极具个人魅力的艺术风格： 他笔下的主角多为富有魅力的中产阶级女性，她们往往沉浸在阅读的宁静中，或是陷入悠然的白日梦境。 通过对模特的精心捕捉，扬·范·比尔斯在画面中极力强调女性的优雅美感与迷人气质， 这种对生活瞬间的细腻刻画，使他的作品在当时的艺术界赢得了广泛的赞誉。
扬·范·比尔斯的艺术语言是一种迷人的融合，他在现实主义的基调中，巧妙地揉入了浪漫主义的感性与颓废主义（Decadence）的华丽色彩。这种风格不仅捕捉了生活的表象，更透出一种时代特有的忧郁与感官魅力。
在创作灵感的源头方面，安托万·维尔茨（Antoine Wiertz）对他产生了深远的影响，尤其是维尔茨作品中那些带有死亡与恐怖色彩的“怪诞美学”（macabre aspects），在扬·范·比尔斯的笔触中留下了难以磨灭的印记。
他以极其精细的超写实微缩画风格而闻名，这种对细节近乎执着的追求，在他1881年提交给沙龙（Salon）的作品中展现得淋漓尽致。由于其独特的艺术表现力，他的作品在当时常被拿来与同时代的其他艺术家进行比较，在艺术史的交汇点上闪耀着独特的光芒。
在生命的晚年，扬·范·比尔斯展现出了他那充满奇想的一面。他在巴黎近郊建造了一座风格迥异的独特建筑，其中的每一间房间都按照完全不同的艺术风格进行设计，仿佛是他内心多元世界的缩影。与此同时，他活跃于商业插画领域，通过创作海报和广告艺术作品，将艺术的触角延伸到了大众生活的每一个角落。
然而，艺术的探索往往伴随着争议。在创作过程中，他因使用摄影技术辅助绘画而陷入了著名的“范·比尔斯事件”（l'affaire van beers）的舆论漩涡。尽管当时有人批评他的作品带有庸俗之气，但他凭借着敏锐的商业直觉，在艺术市场上取得了巨大的商业成功。
时至今日，人们重新审视扬·范·比尔斯的艺术成就，愈发欣赏他作品中蕴含的现实主义色彩、迷人的魅力，以及他对19世纪晚期巴黎生活那生动而细腻的描绘。
