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） · 58 件 Philip van Dijk 作品收录于我们的目录中
简而言之
在 Philip van Dijk 留下的所有原作中，最著名的当属收藏于 海牙 玛乌里诗博物馆 的《Woman Playing a Lute (1725)》。 紧随其后的是 Lady attending to her toilet (1730) 和 Portrait of Aernout van Citters, Lord of Gapinge (1750)。 我们的目录收录了 Philip van Dijk 的 58 件作品；画廊完整保留了 56 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。
The room falls into a quiet hush as the young woman settles into her performance. She sits slightly off-center, her body angled toward the viewer, yet her spirit seems lost in the resonance of the strings. A soft, directional light spills from the upper left, washing over her porcelain skin and catching the subtle curves of her face. This light creates a gentle depth, casting soft shadows that define the…
In this intimate oil on panel, titled Lady attending to her toilet, the artist Philip van Dijk captures a quiet moment of personal preparation. The work, which dates to about 1725, offers a glimpse into the private rituals of the eighteenth century. It is a small-scale composition, measuring 29.5 x 23.5 cm, which invites a close, contemplative inspection of its details.
A man emerges from a deep, shadowy void, his presence defined by the sharp contrast of light and dark. This is Aernout van Citters, Lord of Gapinge, captured in a moment of quiet, dignified stillness. He sits within an oval vignette, a framing choice that pulls the viewer into an intimate encounter with his likeness. His face, marked by a prominent mustache and a well-groomed goatee, catches a strong, directional…
A three-quarter length portrait presents a middle-aged man positioned slightly off-center against a dark, atmospheric background. He is dressed in the formal attire of the early 18th century, featuring a large, voluminous powdered wig that frames a face illuminated by directional light from the upper left. This lighting creates a chiaroscuro effect, casting one side of his features and his hands into deep shadow while highlighting the texture of his…
This oil on canvas portrait, titled William IV of Orange, depicts the subject William IV, Prince of Orange (1711-51), also known as Willem Karel Henrik, Prince of Orange, and later Statholder Willem IV. The work was executed by the Dutch artist Philip van Dijk. The painting is dated 1736.
Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander is an oil portrait by Philip van Dijk. Executed about 1742, the work captures a domestic group of three individuals. The subjects are identified as Isaac Parker, Justina Johanna Ramskrammer, and their son, Willem Alexander.
The portrait presents a three-quarter view of Pieter Macaré, positioned centrally within an oval-shaped border. The subject is depicted from the chest upward, wearing a voluminous, curly wig that frames the face with fine, swirling lines. A draped garment covers the shoulders, accented by a white cravat or neckcloth at the throat. The lighting originates from the upper left, casting the right side of the face and the folds of…
A single light source carves the woman from a void of deep brown. She sits in a three-quarter view, her presence defined by the soft glow on her neck and the pale curve of her cheek. The darkness behind her offers no distraction, only a quiet space for her features to emerge. Her gaze is steady, held within an oval frame that focuses the eye on the subtle textures of…
A single man occupies the space, caught in a moment of quiet gravity. He sits in a three-quarter pose, his body angled toward the right while his gaze meets the viewer with a steady, unblinking clarity. The light arrives from the upper left, a sharp, directional force that carves his features out of the surrounding gloom. It catches the curve of a brow and the soft texture of skin, while…
The Bookkeeper is an oil painting by Philip van Dijk, created about 1725. This work emerged from the hand of an 18th-century painter from the Dutch Republic. The canvas captures a solitary figure in a moment of quiet, scholarly labor, a scene rendered with the precision of a man who understood the weight of a quill and the texture of parchment.
Portrait of Prince William IV of Orange-Nassau1722
12
Portrait of an Officer in Armour in Front of His Tent1720
13
The banishment of Hagar and Ishmael (Genesis 21:14)1718
14
Portrait of Pieter van Hoorn (1671-1729)1712
15
Portrait of an unknown woman1712 · Museum Rotterdam
16
Portrait of Agnes Catherina Hoeuft (1689-1758)1715 · 玛乌里诗博物馆
17
Portrait of Mathias Lambertus Singendonck (1648-1742)1715 · 玛乌里诗博物馆
18
Ignatia Geertruida Timmers (1714-1733). Spouse of Paulus Bogaert van Alblasserdam1728
19
Anna Maria Elburg (1725-1762), Barones van Boetzelaer van Langerak1730
20
Self-portrait c. 17281728 · Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe
21
Prins Wilhelm av Hessen-Cassel1725 · 国家博物馆
22![Sarai [Sarah] brings Hagar to Abram [Abraham] (Genesis 16:3-4) (1725) 由 Philip van Dijk](/media/artworks/images-thumb/bc/e9/bce9cbaaec9559cf2637fb4cc916cbce.jpg)
Sarai [Sarah] brings Hagar to Abram [Abraham] (Genesis 16:3-4)1725
23
Portrait of a Woman1725
24
Portrait of Cornelis van Schuylenburch (1683-1763) and his wife Martha Catharina Kemp (1694-1729) with their children Willem (1717-1769), Pieter (1718-1786) and Anthonetta (1722-1786)1724
25
Portrait of Cornelis van Bijnkershoek (1673-1743)1733
26
Portrait of Petrus Macaré (1704-1736)1730
27
Susanna and the Elders1724 · 斯泰恩斯博物馆艺术馆
28
Portrait of Wilhelm VIII. Landgraf von Hessen-Kassel1736 · Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe
29
Unknown Gentlman1737
30
Cornelia Jacoba Kemp (1696-1755), wife of Johannes van Schuylenburch and her son Pieter1736
31
Portrait of Johanna Jacoba van Campen (1712-1770), wife of Pieter van Hoorn (1706-1763)1734
32
Portrait of François Nicolaas Fagel1735 · Limburg Museum
33
Portrait of Pieter van Hoorn (1706-1763), husband of Johanna Jacoba van Campen (1712-1770)1734
34
portrait of Cornelia Boddaert1737
35
portrait of S.Radermacher 17291737
36
Anne, Princess Royal and Princess of Orange-Nassau (1709-59)1735 · 皇家收藏馆
37
Portrait of Johan Frederik van Friesheim (1685-1747), Marie Aimée van Friesheim-de Rapin de Thoyras (1716-1800) and their son Johan Frederik (Godfried) van Friesheim (1738-1776) with a Black page1739 · Centraal Museum
38
Anna van Hannover (1709-59). wife of Prince Willem IV1735 · 国家博物馆
39
Portrait of a youn William IV1735 · Museum Het Valkhof
40
Samuel Radermacher (1693-1761) and his grandson Samuel Trezel Bevers (d. 1751)1750 · Rijksmuseum Twenthe
41
Anthony Ewout Sichterman, his wife Josina Petronella Alberda and their sons Mello and Albert Galenus Sichterman,1745 · 格罗宁根博物馆
42
Sybilla Volkera Sichterman-Sadelijn and her daughters Sybilla Volkera and Christina Elisabeth1745 · 格罗宁根博物馆
43
Francina Margaretha Sichterman, her husband Scato Gockinga and their eldest daughter Tateke Helena1745 · 格罗宁根博物馆
44
Isaac Parker (1702-55), Merchant of Middelburg, Philip van Dijk, 17341734 · 国家博物馆
45
François Fagel III1735 · Haags Historisch Museum/Rijksmuseum De Gevangenpoort
46
Justina Johanna Ramskrammer1734 · 国家博物馆
47
Cornelis van Ceters (1503-99), Philip van Dijk, 1700 - 17531753 · 国家博物馆
48
Portrait of Caspar Adriaen Parduyn (1685-1735), Bailiff of Middelburg, Philip van Dijk, 1705 - 17531753 · 国家博物馆
49
Portrait of Maria van Citters (1684-1752), Wife of Caspar Adriaen Parduyn, Philip van Dijk, 1725 - 17531753 · 国家博物馆
50
Adriaen Caspar Parduyn (1718-47), Councilor and Alderman of Middelburg, Son of Caspar Adriaen Parduyn and Maria van Citters, Philip van Dijk, 1735 - 17531753 · 国家博物馆
51
Jan Albert Sichterman with his son Jan Albert1745 · 格罗宁根博物馆
52
Judith with the head of Holofernes1726 · Mauritshuis Royal Picture Gallery
53
Venus and Bacchus
54
The Iddekinge family国家博物馆
55
An elegant couple making music on a balcony
56
Man Playing a Violin and a Woman at a Window皇家瓦金基公园博物馆
#40 Samuel Radermacher (1693-1761) and his grandson Samuel Trezel Bevers (d. 1751)
#47 Cornelis van Ceters (1503-99), Philip van Dijk, 1700 - 1753
#48 Portrait of Caspar Adriaen Parduyn (1685-1735), Bailiff of Middelburg, Philip van Dijk, 1705 - 1753
#49 Portrait of Maria van Citters (1684-1752), Wife of Caspar Adriaen Parduyn, Philip van Dijk, 1725 - 1753
#50 Adriaen Caspar Parduyn (1718-47), Councilor and Alderman of Middelburg, Son of Caspar Adriaen Parduyn and Maria van Citters, Philip van Dijk, 1735 - 1753
这些原作中反复出现的四个主题，各有一个最杰出的范例。
#3 Portrait of Aernout van Citters, Lord of Gapinge
#4 Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg
#5 William IV of Orange
#6 Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | Philip van Dijk 的作品 | 此列表中的画作 |
|---|---|---|---|
 国家博物馆 |
阿姆斯特丹 | 10 | Portrait of Aernout van Citters, Lord of Gapinge, Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg, Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander |
 玛乌里诗博物馆 |
海牙 | 4 | Woman Playing a Lute, The Bookkeeper, Portrait of Agnes Catherina Hoeuft (1689-1758) |
 格罗宁根博物馆 |
格罗宁根 | 4 | Anthony Ewout Sichterman, his wife Josina Petronella Alberda and their sons Mello and Albert Galenus Sichterman,, Sybilla Volkera Sichterman-Sadelijn and her daughters Sybilla Volkera and Christina Elisabeth, Francina Margaretha Sichterman, her husband Scato Gockinga and their eldest daughter Tateke Helena |
 Mauritshuis Royal Picture Gallery |
海牙 | 2 | Lady attending to her toilet, Judith with the head of Holofernes |
 斯泰恩斯博物馆艺术馆 |
哥本哈根 | 2 | William IV of Orange, Susanna and the Elders |
 Gemäldegalerie Alte Meister im Schloss Wilhelmshöhe |
卡塞尔 | 2 | Self-portrait c. 1728, Portrait of Wilhelm VIII. Landgraf von Hessen-Kassel |
 国家博物馆 |
斯德哥尔摩 | 2 | Prins Wilhelm av Hessen-Cassel, Portrait of Caspar Adriaen Parduyn (1685-1735), Bailiff of Middelburg, Philip van Dijk, 1705 - 1753 |
 Museum Rotterdam |
Rotterdam | 1 | Portrait of an unknown woman |
选择一个年代，探索定义该时代的原创杰作。
The portrait presents a three-quarter view of Pieter Macaré, positioned centrally within an oval-shaped border. The subject is depicted from the chest upward, wearing a voluminous, curly wig that frames the face with fine, swirling lines. A draped garment covers the shoulders, accented by a white cravat or neckcloth at the throat. The lighting originates from the upper left, casting the right side of the face and the folds of…
The oil on canvas depicts a scene of departure set against a landscape of rocky terrain and a muted, atmospheric sky. In the foreground, three figures occupy a diagonal arrangement that directs the viewer's gaze from the immediate emotional center toward the distant horizon. An elderly man, positioned on the left, extends a hand in a commanding gesture. He is dressed in heavy, fur-lined robes of red and brown, and…
The room falls into a quiet hush as the young woman settles into her performance. She sits slightly off-center, her body angled toward the viewer, yet her spirit seems lost in the resonance of the strings. A soft, directional light spills from the upper left, washing over her porcelain skin and catching the subtle curves of her face. This light creates a gentle depth, casting soft shadows that define the…
In this intimate oil on panel, titled Lady attending to her toilet, the artist Philip van Dijk captures a quiet moment of personal preparation. The work, which dates to about 1725, offers a glimpse into the private rituals of the eighteenth century. It is a small-scale composition, measuring 29.5 x 23.5 cm, which invites a close, contemplative inspection of its details.
Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander is an oil portrait by Philip van Dijk. Executed about 1742, the work captures a domestic group of three individuals. The subjects are identified as Isaac Parker, Justina Johanna Ramskrammer, and their son, Willem Alexander.
A man emerges from a deep, shadowy void, his presence defined by the sharp contrast of light and dark. This is Aernout van Citters, Lord of Gapinge, captured in a moment of quiet, dignified stillness. He sits within an oval vignette, a framing choice that pulls the viewer into an intimate encounter with his likeness. His face, marked by a prominent mustache and a well-groomed goatee, catches a strong, directional…
Woman Playing a Lute (1725)，玛乌里诗博物馆, 海牙。紧随其后的是 Lady attending to her toilet (1730) 和 Portrait of Aernout van Citters, Lord of Gapinge (1750)。
42岁：Woman Playing a Lute创作于1725年，Philip van Dijk出生于1683年。
Woman Playing a Lute, Lady attending to her toilet, Portrait of Aernout van Citters, Lord of Gapinge, Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg, William IV of Orange, Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander, Portrait of Pieter Macaré (1674-1714), Portrait of Johanna Maria van Dusseldorp (1677-1740), Portrait of a man 及 The Bookkeeper。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 58 件 Philip van Dijk 的作品，创作年代从 1700 年至 1753 年。
多见于 国家博物馆 (阿姆斯特丹), 玛乌里诗博物馆 (海牙) 及 格罗宁根博物馆 (格罗宁根)。上方的博物馆列表列出了所有相关机构。
在 1730s 期间：本页 56 件作品中有 20 件创作于该时期，其中包含 Lady attending to her toilet 件作品。
在本页面中，最早的作品创作于 Portrait of a man (1700)，最晚的创作于 Cornelis van Ceters (1503-99), Philip van Dijk, 1700 - 1753 (1753)。
Man (34), Woman (24) 及 Wig (15)，共计 56 件作品。
Oil，共计 25 件（本页共有 56 件作品）。
根据本页面的原作，Baroque
Portrait of Aernout van Citters, Lord of Gapinge, Portrait of Jan Boudaen Courten (1635-1716), lord of St. Laurens, Schellach and Popkensburg, Judge and alderman of Middelburg 及 Family Portrait of Isaac Parker, his Wife Justina Johanna Ramskrammer and their young Son Willem Alexander：国家博物馆, 阿姆斯特丹收藏了本页中 10 件作品。
In the grand tapestry of the Dutch Baroque, few threads are woven with as much elegance and courtly grace as those left by Philip van Dijk. Born in the vibrant artistic hub of Haarlem on January 10, 1683, Van Dijk emerged during an era when the Dutch Republic was transitioning from the rugged realism of the Golden Age into a more refined, sophisticated aesthetic. His journey was one of constant movement and prestigious associations, shaped by the shadows of masters and the bright lights of royal courts. From his early training under Arnold Boonen in Amsterdam to the transformative influence of Adriaen van der Werff in Rotterdam, Van Dijk developed a stylistic language that balanced meticulous precision with an evocative, psychological depth.
The artist’s development was deeply rooted in the rigorous traditions of the Dutch guilds. After marrying in 1708, he joined the prestigious Guild of St. Luke in Middelburg, a move that signaled his arrival as a professional of significant standing. His talent soon earned him membership in the Confrerie Pictura, where his reputation flourished among the artistic elite. This period of his life was marked by an increasing ability to capture not just the physical likeness of his subjects, and even their social status, but the very essence of their character through a delicate interplay of light and texture.
The true zenith of Van Dijk’s career was reached when his brush moved beyond the merchant classes of the Netherlands to serve the highest echelons of European nobility. In 1726, a decade-long departure from The Hague saw him travel to Kassel, where he assumed the prestigious role of court painter for William VIII, Landgrave of Hesse-Cassel. It was in this setting of aristocratic splendor that his mastery of portraiture truly blossomed. He captured the dignity of Landgravine Marie Louise of Hesse-Kassel and her family with a grandeur that solidified his place in the annals of Baroque history.
His influence and reach were not confined to Germany alone; by 1750, he had returned to The Hague to serve as court painter to William IV, Prince of Orange. This appointment to the House of Orange-Nassau cemented his legacy as a chronicler of royal lineage. His work remains a vital window into the social fabric of the 18th century, characterized by:
Beyond the halls of power, Van Dijk’s impact resonated through the generations of artists he mentored at the drawing academy, including Jan Augustini and Hendrik Pothoven. Perhaps most charmingly, his artistic reach extended into the everyday lives of the Dutch people; his depiction of a Lute Player was so iconic that it served as the inspiration for the design of the Dutch 100 guilder banknote centuries later. When he passed away on February 2, 1753, he left behind a body of work that continues to resonate with the timeless beauty of the Baroque spirit.
