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） · 37 件 扬·威尔登斯 作品收录于我们的目录中
简而言之
在 扬·威尔登斯 留下的所有原作中，最著名的当属收藏于 维也纳 维也纳艺术史博物馆 的《Landscape with hunters (1649)》。 紧随其后的是 Landscape with Christ and his Disciples on the Road to Emmaus (1640) 和 Landscape with Rocky Formations (1600)。 我们的目录收录了 扬·威尔登斯 的 37 件作品；画廊完整保留了 36 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。
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
In the quietude of Jan Wildens’ 1640 masterpiece, Landscape with Christ and his Disciples on the Road to Emmaus, the viewer is invited into a moment of profound spiritual stillness. This monumental canvas does not merely depict a biblical event; it orchestrates a meditation on faith set against the restorative backdrop of the natural world. As we gaze upon the rolling hills and the dusty, winding path, we find ourselves…
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
In this oil painting, titled Landscape; loving couples at breakfast, Jan Wildens presents a pastoral scene that invites a quiet contemplation of rural life. Created about 1611, the work captures several couples gathered in a meadow, enjoying a meal together in the open air. The figures are situated within a lush, natural setting, surrounded by the soft textures of a rolling landscape. There is a sense of calm in their…
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
Landscape with the Devil Sowing Tares by Jan Wildens, executed about 1635, presents a biblical allegory set within a wooded environment. The composition centers on the Parable of the Tares, a narrative of spiritual deception. A single figure, representing the Devil, moves through the terrain to sow weeds among the wheat.
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
The sun hangs low on the horizon, casting a warm, diffused glow across a sprawling landscape that feels as though it is breathing. In this wide, panoramic scene, the air seems thick with the quiet tension of a fated encounter. Rebekah stands by the well, her presence a focal point amidst a gathering of travelers, camels, and livestock. The light of the setting sun catches the edges of the figures,…
The oil painting titled Boar Hunt was executed by the Flemish artist Jan Wildens. This work is a copy of a painting originating from the workshop of Peter Paul Rubens. It captures a moment of intense movement within the forest, rendered with the specific hand of Wildens. The piece dates to about 1640.
Pastorale1643 · Rubens House
12
August, harvest
13
Landscape with Dead Oak1600 · Museum Mayer van den Bergh
14
Landscape with figures1601 · 普拉多博物馆
15
Forest Landscape with Stream1619
16
Landscape with shearers1613 · 普拉多博物馆
17
Travellers at the ferry launch1617 · 纽约历史学会
18
Landscape with a rainbow and lumberjacks1621 · 柏林国家美术馆
19
Marshy Countryside1629 · 布达佩斯美术博物馆
20
Landscape with Shepherds1631 · 皇家美术馆安特卫普
21
Landscape with love couple1640 · 维也纳艺术史博物馆
22
Landscape with Thunderstorm1649 · 巴伐利亚州绘画收藏馆
23
Landscape with Hunt of Meleager and Atalanta1650 · 安特卫普皇家美术馆
24
Landscape with Gentlefolk and Gypsies波士顿美术馆
25
Panoramic View of Antwerp from the East, Jan Wildens, 16361636 · 国家博物馆
26
Stag hunt冬宫博物馆
27
Horse Attacked by Dogs冬宫博物馆
28
Mercury and Argus
29
Road on the bank of the stream
30
A wooded landscape with a figure on horseback and shepherds with their flock on a path, a castle bayond
31
Wolves Attacking a Horse冬宫博物馆
32
Joseph sold by his BrothersFundación Banco Santander
33
Infant Christ and St. John the Babtist in a landscape.华沙国家博物馆
34
The St. Bernard Abbey in Hemiksem安特卫普皇家美术馆
35
Landscape with Peasants
36
Winter Landscape with a Hunter1624 · 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 | 扬·威尔登斯 的作品 | 此列表中的画作 |
|---|---|---|---|
 冬宫博物馆 |
圣彼得堡 | 5 | Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape, Stag hunt |
 巴伐利亚州绘画收藏馆 |
慕尼黑 | 3 | Latona and the Lycian Peasants, Boar Hunt, Landscape with Thunderstorm |
 维也纳艺术史博物馆 |
维也纳 | 2 | Landscape with hunters, Landscape with love couple |
 Museum Mayer van den Bergh |
安特卫普 | 2 | Landscape with Rocky Formations, Landscape with Dead Oak |
 普拉多博物馆 |
马德里 | 2 | Landscape with figures, Landscape with shearers |
 安特卫普皇家美术馆 |
安特卫普 | 2 | Landscape with Hunt of Meleager and Atalanta, The St. Bernard Abbey in Hemiksem |
 Yekaterinburg Museum of Fine Arts |
叶卡捷琳堡 | 1 | Transformation of Women into Magpies |
 皇家收藏馆 |
伦敦 | 1 | Landscape with the Devil Sowing Tares |
选择一个年代，探索定义该时代的原创杰作。
A rugged topography dominates the canvas, where jagged, vertical lines of rock pierce the atmosphere. The earth here is heavy, composed of deep browns and ochres that anchor the composition in a shadowed foreground. Through the dense foliage and the roughness of stone, the eye travels toward a distant, hazy mountain range. Light spills from the upper right, catching the sharp edges of a cliff face while leaving the hollows…
In Latona and the Lycian Peasants, we encounter a significant collaboration between Jan Wildens and the Rubens-Werkstatt. This work, dating from about 1619, captures a specific moment of mythological tension. The scene focuses on the transformation of Latona, a subject that allows for a profound exploration of divine wrath and the sudden nature of metamorphosis. It is a work that relies on the tension between the earthly labor of the…
Hunter with Dogs in a Landscape is a work by the Flemish painter Jan Wildens. Created in 1625, the piece emerges from the artist's long association with the landscape traditions of the Low Countries. The canvas captures a specific moment of movement within a rugged, wooded setting.
In Transformation of Women into Magpies, Jan Wildens organizes a dramatic mythological landscape through a structured, theatrical arrangement. Large, towering trees on the left and right frame a central vista, directing the eye toward a distant valley. This central opening reveals a landscape under a soft, late-afternoon sky, where atmospheric perspective creates a sense of depth, leading the viewer from the detailed foreground through middle-ground woods to the far-off hills.…
A heavy, cloud-filled sky hangs over a lush, wooded expanse, casting a soft light across the terrain. In the mid-ground, hunters and their dogs move near a riverbank, their figures small against the scale of the trees. A single cottage sits nestled among the foliage, a quiet witness to the movement below. The air feels thick with the scent of damp earth and crushed leaves. Everything is held in a…
Landscape with Hunt of Meleager and Atalanta by Jan Wildens, executed about 1650, presents a dramatic scene set within a dense, wooded environment. The composition centers on a group of hunters, horses, and hounds engaged in a frantic pursuit. This activity likely represents the mythological hunt of Meleager and Atalanta.
Landscape with hunters (1649)，维也纳艺术史博物馆, 维也纳。紧随其后的是 Landscape with Christ and his Disciples on the Road to Emmaus (1640) 和 Landscape with Rocky Formations (1600)。
63岁：Landscape with hunters创作于1649年，扬·威尔登斯出生于1586年。
Landscape with hunters, Landscape with Christ and his Disciples on the Road to Emmaus, Landscape with Rocky Formations, Latona and the Lycian Peasants, Landscape; loving couples at breakfast, Transformation of Women into Magpies, Landscape with the Devil Sowing Tares, Hunter with Dogs in a Landscape, Rebekah and Eliezer at the well (Genesis 24:18-19) 及 Boar Hunt。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 37 件 扬·威尔登斯 的作品，创作年代从 1600 年至 1650 年。
多见于 冬宫博物馆 (圣彼得堡), 巴伐利亚州绘画收藏馆 (慕尼黑) 及 维也纳艺术史博物馆 (维也纳)。上方的博物馆列表列出了所有相关机构。
在 1640s 期间：本页 36 件作品中有 6 件创作于该时期，其中包含 Landscape with hunters 件作品。
在本页面中，最早的作品创作于 Landscape with Rocky Formations (1600)，最晚的创作于 Landscape with Hunt of Meleager and Atalanta (1650)。
Trees (18), Landscape (15) 及 Sky (15)，共计 36 件作品。
Oil On Canvas，共计 17 件（本页共有 36 件作品）。
根据本页面的原作，Flemish baroque
Landscape with Christ and his Disciples on the Road to Emmaus, Hunter with Dogs in a Landscape 及 Stag hunt：冬宫博物馆, 圣彼得堡收藏了本页中 5 件作品。
扬·威尔登斯于1586年出生在充满活力的安特卫普核心地带，是佛兰德巴洛克风景画传统中的关键人物。他的艺术遗产建立在细致入微的场景描绘之上，这些场景蕴含着深邃的宁静感与写实主义——这种风格特征使他在与彼得·保罗·鲁本斯和扬·布里尔等艺术巨匠并列的同时，确立了自己的声誉。与许多追求戏剧性张力和动荡构图的同辈艺术家不同，扬·威尔登斯培养出一种植根于敏锐观察与细腻细节的美学。他拥有一种独特的能力，既能捕捉乡村生活的本质，也能描绘城市景观，他呈现世界的方式并非通过混乱的视角，而是通过一扇通往静谧、永恒之美的窗户。
他在安特卫普度过的成长岁月奠定了他大师级的艺术基础。虽然他的父亲亨德里克·威尔登斯是一位受人尊敬的商人，但扬的命运注定属于画架。在父亲不幸去世后，他由母亲玛格达莱娜·范·沃斯伯根及其第二任丈夫科内利斯·考克抚养长大。这种家庭环境使他处于伟大大师的圈子之中，因为考克是科内利斯·德·沃斯的继父，这一联系将扬编织进了安特卫普艺术精英的社会结构之中。年仅十六岁时，扬·威尔登斯便进入了享有盛誉的安特卫普圣路加行会，师从彼得·范·德·胡尔斯特（一世）学习。在导师的指导下，他掌握了风景构图与光影的基础技巧，发展出精准的视觉语言，这使他后来能够为宏大的全景图和亲密的圣经场景注入生命力。
在扬·威尔登斯辉煌的职业生涯中，最重要的篇章无疑是他与彼得·保罗·鲁本斯之间深厚的艺术合作伙伴关系。这不仅仅是师生关系，更是一种平等的协作，提升了巴洛克运动中风景画的地位。他们的合作涵盖了许多宏大的项目，其中最著名的便是由枢机主教费迪南德委托创作的、令人叹为观止的德西乌斯·穆斯挂毯系列。在这些宏伟的构图中，扬·威尔登斯受命创作富有氛围感的城市景观，为历史剧提供了舞台，特别是他为安特卫普的壮丽景象贡献了两幅宏伟的视野。这种联系使扬·威尔登斯能够将其细腻写实的天赋与鲁本斯史诗般的叙事规模相结合，将他推向了欧洲认可的高度。
除了这些大规模的委约作品，扬·威尔登斯在题材上也展现了卓越的多样性。他能够从城市景观的建筑精确性平滑过渡到宗教叙事的精神静谧感，这在他的多样化作品集中清晰可见。例如：
扬·威尔登斯的历史意义在于他扮演了连接晚期文艺复兴细腻观察传统与盛期巴洛克更具扩张性、情感化风景画之间的桥梁。他避开了仅仅作为装饰的陷阱，而是利用风景将宏大叙事植根于真实、可辨识的现实之中。他的作品为鲁本斯构图中那些超越凡尘的人物提供了必要的“呼吸感”，提供了一种空间感，使神话和历史场景显得真实地存在于物理世界之中。
当我们回顾他于1653年结束的生命历程时，我们看到的是一位精通“微妙艺术”的艺术家。通过对光影、纹理和氛围的执着追求，扬·威尔登斯确保了佛兰德斯的风景画不仅作为背景被铭记，更作为西方艺术故事中持久的角色而存在。他从平凡中发现非凡的能力持续吸引着收藏家和历史学家，成为了那双坚定、敏锐的观察之眼的有力见证。
