Mis à jour en novembre 2026 · classé selon notre score de popularité (recherches, visites et commandes pour chaque œuvre) · 10 œuvres de Samuel Hoffmann dans notre catalogue
Résumé
Selon ce classement, Portrait d'un vieil homme (1638) est la peinture la plus célèbre de Samuel Hoffmann ; elle est conservée au Rijksmuseum, à Amsterdam. Il est suivi de Dead game and four figures (1612) et The Countess of Mansfeldt (1628). Cette liste s'appuie sur les 10 œuvres de Samuel Hoffmann présentes dans le catalogue et répertorie les 9 plus célèbres, avec la date, le musée de conservation et une description pour chaque entrée.
L'œuvre qui se présente à nous est intitulée Portrait d'un vieil homme, une importante huile sur toile peinte par l'artiste Samuel Hoffmann. Créé en 1638, ce portrait capture un instant de dignité tranquille. Le sujet est un homme âgé, bien que son identité précise demeure un sujet de débat parmi les érudits. Bien qu'il soit souvent classé comme un modèle inconnu, certaines observations suggèrent qu'il pourrait s'agir d'Arend Jacobsz van…
Les 5 musées qui détiennent la plupart des peintures de cette page.
| Musées | Ville | Œuvres de Samuel Hoffmann | Peintures de cette liste |
|---|---|---|---|
 Statens Museum for Kunst |
Copenhague | 3 | The Countess of Mansfeldt, The Count of Mansfeldt, Portrait of a Man |
 Musée National de Varsovie |
Varsovie | 2 | Portrait of a woman aged 69, Portrait of a man aged 70. |
 Rijksmuseum |
Amsterdam | 1 | Portrait d'un vieil homme |
 Musée Mayer van den Bergh |
Anvers | 1 | Dead game and four figures |
 Städel Museum |
Francfort | 1 | Portrait of a Woman |
Sélectionnez une décennie pour afficher son tableau principal.
L'œuvre qui se présente à nous est intitulée Portrait d'un vieil homme, une importante huile sur toile peinte par l'artiste Samuel Hoffmann. Créé en 1638, ce portrait capture un instant de dignité tranquille. Le sujet est un homme âgé, bien que son identité précise demeure un sujet de débat parmi les érudits. Bien qu'il soit souvent classé comme un modèle inconnu, certaines observations suggèrent qu'il pourrait s'agir d'Arend Jacobsz van…
Portrait d'un vieil homme (1638), Rijksmuseum, Amsterdam. Les entrées suivantes sont Dead game and four figures (1612) et The Countess of Mansfeldt (1628).
43 ans : Samuel Hoffmann est né(e) en 1595 et Portrait d'un vieil homme date de 1638.
Le catalogue répertorie 10 œuvres de Samuel Hoffmann, datées de 1612 à 1638.
Principalement dans Statens Museum for Kunst (Copenhague), Musée National de Varsovie (Varsovie) et Rijksmuseum (Amsterdam). Le tableau des musées ci-dessus présente la répartition complète.
En 1630s : 4 des 9 œuvres répertoriées sur cette page datent de cette période, dont Portrait d'un vieil homme.
L'œuvre la plus ancienne répertoriée ici date de Dead game and four figures (1612) ; la plus récente date de Portrait d'un vieil homme (1638).
The Countess of Mansfeldt, The Count of Mansfeldt et Portrait of a Man figurent parmi les 3 œuvres de cette page dans la collection du Statens Museum for Kunst, Copenhague.
In the grand tapestry of twentieth-century soundscapes, few figures possess a legacy as hauntingly beautiful and technically singular as Samuel J. Hoffman. While history often remembers him through the lens of cinematic tension, his life was a profound intersection of classical discipline and avant-garde innovation. Born in New York City in 1903, Hoffman’s journey began not with the electronic whispers of the theremin, but with the disciplined strings of the violin. A prodigy who began performing professionally at the tender age of fourteen, he navigated the vibrant jazz and swing scenes of New York under the moniker Hal Hope, leading orchestras that defined the rhythmic pulse of an era.
The turning point in Hoffman’s artistic evolution arrived through a serendipitous encounter with debt. In the early 19 and 30s, he acquired a 1929 RCA theremin—an instrument played without physical contact, manipulating electromagnetic fields through the movement of hands in the air. This acquisition transformed him from a traditional instrumentalist into a pioneer of electronic music. He seamlessly integrated this otherworldly sound into his swing ensembles, eventually forming the Hal Hope’s Electronic Trio. This experimental fusion of the Hammond organ, electric cello, and the ethereal theremin pushed the boundaries of what audiences believed musical instruments could achieve, blending the tangible with the intangible.
The true historical significance of Hoffman’s work crystallized within the golden age of Hollywood. His unique ability to read music—a rarity among thereminists of the time—made him an indispensable asset to the great composers of the silver screen. When composer Miklos Rozsa sought to infuse Alfred Hitchcock’s Spellbound (1945) with a sense of psychological instability, Hoffman was the only choice. The resulting score, which earned an Academy Award nomination, utilized the theremin's wavering pitch to mirror the fractured psyche of the film's protagonists. This mastery of atmosphere established a sonic blueprint for the horror and noir genres.
Throughout the late 1940s, Hoffman’s haunting melodies became the heartbeat of cinematic suspense. His contributions to films such as The Spiral Staircase and The Red House utilized the instrument's ability to evoke dread, longing, and the supernatural. Yet, his talent was not confined to the shadows of film noir; he also demonstrated a remarkable versatility by performing in lighter, more melodic contexts, such as the Bing Crosby and Bob Hope comedy Road to Rio. This duality—the ability to move between the terrifying and the whimsical—remains a testament to his profound musical intelligence.
Beyond the recording studios and film sets, Hoffman lived a life of fascinating dualities. In a remarkable feat of professional balance, he became a practicing podiatrist, relocating to Los Angeles in 1941. This unique juxtaposition of medical precision and musical abstraction led many to refer to him affectionately as "Doctor" Hoffman. Even while tending to his medical practice, he remained a vital force in the music industry, collaborating on landmark recordings like Music Out of the Moon, which stands as one of the most successful theremin albums ever released.
The legacy of Samuel Hoffman is not merely found in the notes he played, but in the way he expanded the emotional vocabulary of modern music. He bridged the gap between the classical tradition and the electronic future, proving that an instrument played by the mere movement of air could carry the weight of human emotion. His work remains a cornerstone of cinematic history, reminding us that the most profound art often emerges from the unexpected meeting of science, soul, and sound.
