Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 41 dela Cezar Van Everdingen u našem katalogu
Pregled
Prema ovom rangiranju, Woman praying (1650) je najpoznatije delo umetnika Cezar Van Everdingen; nalazi se u muzeju Rijksmuseum, Amsterdam. Nakon toga slede Jupiter and Callisto (1655) i Winter (1646). Ova lista se zasniva na 41 dela umetnika Cezar Van Everdingen u katalogu i sadrži 40 najpoznatijih, uz datum, muzej u kojem se nalaze i opis za svaki unos.
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
A single mask lies discarded in the upper corner, a silent witness to a deception. Beneath it, the nymph Callisto reclines upon heavy folds of fabric, her skin catching a pale, directional light that carves her form from the surrounding gloom. She looks upward, her gaze meeting the eyes of a man she believes to be a friend, yet the viewer sees the truth of his divinity. Jupiter stands near…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
This work, titled Vertumnus and Pomona, is a significant example of the mythological painting produced by Caesar van Everdingen. The piece is dated about 1637–1640, a period during which the artist was establishing his presence within the Dutch Golden Age. It is a work that captures a specific moment of classical narrative, rendered with the precision characteristic of his training in Utrecht.
In this 1641 portrait, we find ourselves standing before a dense assembly of men, the officers of the Orange Company of the Old Civic Guard. There is a certain weight to the composition, a horizontal arrangement that feels both crowded and deeply organized. These men are not merely subjects; they are a collective force, their postures providing a structural rhythm to the canvas. The lighting, descending from the upper left,…
This 1636 oil portrait presents a three-quarter length view of an elderly woman, Aechje Claesdr. Moer, set against a somber, atmospheric backdrop. The composition relies on a sharp tonal contrast between her dark, light-absorbing gown and a large, bright white ruff collar. This millstone ruff, with its rhythmic pleats, directs the eye toward the subject's face, which is rendered with naturalistic precision. A soft, directional light enters from the upper…
This Baroque-style oil painting presents an intimate mythological scene featuring two figures, Vertumnus and Pomona, set against a dark and atmospheric landscape. The composition centers on a tactile exchange of fruit between a seated figure on the left and a woman on the right. The scene is characterized by a dramatic use of chiaroscuro, where light highlights the faces and hands of the subjects while casting much of the background…
The work before us is the Portrait of an unknown girl, a quiet study by the Dutch Golden Age painter Caesar van Everdingen. This portrait, which is also known by the titles Girl in a Large Hat or Meisje met brede hoed, offers a glimpse into the meticulous portraiture practiced during the mid-17th century. It captures a sense of individual presence through a restrained and dignified approach to the subject.
The painting titled Officers and standard-bearers of New Civic Guard in Alkmaar was executed by the Dutch Golden Age painter Caesar van Everdingen. This large-scale work dates to about 1657. The subject matter consists of a group of officers and standard-bearers, who likely represent a civic militia. These men are gathered in a formal arrangement that reflects their communal role within the city of Alkmaar, Netherlands.
Portrait of Cornelis Jacobsz. Groot (?-1661)1656 · Kunsthandel P. de Boer
12
Four Muses and Pegasus on Parnassus1650 · Huis ten Bosch
13
Lycurgus Demonstrates the Benefits of Education1660 · Stedelijk Museum
14
Self-portrait of Caesar van Everdingen (?-1678)1670 · Stedelijk Museum
15
Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot1664 · Kunsthandel P. de Boer
16
Portrait of Wollebrand Geleynsz de Jongh (1594-1674), with a servant and a child1674 · Stedelijk Museum
17
Four Evangelists: John1676 · Stedelijk Museum
18
Four Evangelists: Luke1676 · Stedelijk Museum
19
Four Evangelists: Mark1676 · Stedelijk Museum
20
Joueuse de Cistre1678 · Musée des Beaux-Arts de Rouen
21
Allegory of the Birth of Frederik Hendrik1650 · Huis ten Bosch
22
Female Figure, possibly Lucretia1793 · Nationalmuseum
23
Diogenes Seeks a True Man1652 · Mauritshuis
24
Still-Life with a Bust of Venus1665 · Mauritshuis
25
View of the Oranjezaal1650 · Huis ten Bosch
26
Amor Holding a Glass Orb1660
27
Count Willem II of Holland Granting Privileges1655 · Gemeenlandshuis
28
Officers and Standard-Bearers of the Old Civic Guard1657 · Stedelijk Museum
29
Nymphs Offering the Young Bacchus Wine, Fruit and Flowers1670 · Museum Kunstpalast
30
Holy Family1660 · Museum Catharijneconvent
31
Portrait of a Girl as a Huntress1665 · Koninklijk Museum voor Schone Kunsten
32
Portrait of a Two-Year-Old Boy1664 · Cannon Hall Museum
33
Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
34
Willem Jacobsz Baert (1636-84), Burgomaster of Alkmaar and Amsterdam, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
35
The four muses with pegasusHuis ten Bosch
36
Portrait of a Dutch CommanderNational Gallery
37
Bacchus with Two Nymphs And Cupid
38
Pan and Syrinx, Caesar Boëtius van Everdingen, c. 1637 - c. 16401640 · Rijksmuseum
39
Girl in a Large Hat1647 · Rijksmuseum
40
Bacchus with Nymphs and Cupid1660 · Gemäldegalerie
Četiri najčešće zastupljena motiva među ovim delima, od kojih svaki ima svoj najpoznatiji primer.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Cezar Van Everdingen | Slike iz ovog spiska |
|---|---|---|---|
 Stedelijk Museum |
Alkmaar | 10 | Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Officers and standard-bearers of New Civic Guard in Alkmaar |
 Rijksmuseum |
Amsterdam | 6 | Woman praying, Winter, Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 1671 |
 Huis ten Bosch |
Haga | 4 | Four Muses and Pegasus on Parnassus, Allegory of the Birth of Frederik Hendrik, View of the Oranjezaal |
 Nationalmuseum |
Стокхолм | 2 | Jupiter and Callisto, Female Figure, possibly Lucretia |
 Kunsthandel P. de Boer |
2 | Portrait of Cornelis Jacobsz. Groot (?-1661), Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot | |
 Mauritshuis |
Хага | 2 | Diogenes Seeks a True Man, Still-Life with a Bust of Venus |
 Музеј Тисен-Борнемиза |
Madrid | 1 | Vertumnus and Pomona |
 J. Paul Getty Museum |
Los Anđeles | 1 | Vertumnus and Pomona |
Izaberite deceniju da biste prikazali njeno glavne delo.
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures across multiple levels—from a raised platform in the rear to steps and seated positions in the foreground. A central group dominates the immediate view, while other figures recede into the distance. Diagonals cut through the scene, pulling the eye through the gathering…
This work is the Self-portrait of Caesar van Everdingen (?-1678), a quiet study by the Dutch Golden Age painter Caesar van Everdingen. Created about 1670, the portrait offers a direct encounter with the artist himself during his later years. It is a significant example of the individual's ability to capture his own likeness with a sense of dignity and introspection.
Woman praying (1650), Rijksmuseum, Amsterdam. Sledeći unosi su Jupiter and Callisto (1655) i Winter (1646).
34 godina: Cezar Van Everdingen je rođen/a 1616, a delo Woman praying datirano je 1650.
Woman praying, Jupiter and Callisto, Winter, Vertumnus and Pomona, Vertumnus and Pomona, Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Vertumnus and Pomona, Portrait of an unknown girl i Officers and standard-bearers of New Civic Guard in Alkmaar. Gornja lista sadrži datum i muzej u kojem se svako od njih nalazi.
Katalog sadrži 41 dela umetnika Cezar Van Everdingen, datiranih između 1631 i 1678.
Prvenstveno u Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) i Huis ten Bosch (Haga). Tabela muzeja iznad prikazuje punu distribuciju.
U periodi 1650s: 12 od 40 dela navedenih na ovoj stranici datiraju iz tog perioda, uključujući Woman praying.
Najstarije datirano delo na ovoj listi je Vertumnus and Pomona (1631), a najnovije je Joueuse de Cistre (1678).
Woman (12), Man (11) i Drapery (5) od ukupno 40 dela navedenih na ovoj stranici.
Oil On Canvas, u 15 od 40 dela navedenih na ovoj stranici.
Baroque i Dutch golden age, kao što je dokumentovano delima na ovoj stranici.
Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) i Officers and standard-bearers of New Civic Guard in Alkmaar su među 10 dela na ovoj stranici u kolekciji Stedelijk Museum, Alkmaar.
U zlatnom dobu holandskog slikarstva, u kojem je igra svetlosti i senke definisala vizuelni identitet jedne nacije, Cezar van Everdingen se istakao kao majstor suptilnih emocija i atmosferske dubine. Rođen oko 1616. godine u istorijskom gradu Alkmar u Holandiji, njegov umetnički put bio je duboko isprepleten sa prestižnim porodičnim korenima. Iako se često pominje uz svoju slavnu braću, Alarta i Jana, Cezar je uspeo da izkuje sopstveni, poseban prostor unutar holandskog zlatnog doba. Njegovo rano obrazovanje pod okriljem cenjenog Jana Gerritsa van Bronckhorsta u Utrehtu pružilo mu je čvrste temelje klasične estetike, ugrađujući u njega preciznost koja će mu kasnije omogućiti da prevaziđe puku tehničku veštinu i dostigne istinsku umetničku viziju.
Njegov profesionalni uspon počeo je ozbiljno 1632. godine, kada se zvanično pridružio esnafu u Alkmaru. Tokom tih formativnih godina, njegov repertoar karakterisali su pedantni portreti i upečatljive žanrovske scene, dela koja su zahtevala intenzivno posmatranje ljudskog stanja. Međutim, kako je njegov talenat sazrevao, tako je rastela i njegova ambicija. Izašao je iz okvira doslovnog predstavljanja, razvijajući jedinstvenu sposobnost manipulacije potezima četkice kako bi uhvatio prolazne nijanse svetlosti i težinu atmosfere. Ova evolucija označila je njegov prelazak iz veštog zanatlije u vizionarskog slikara, sposobnog da udahne život u samo platno.
Ključno poglavlje u Van Everdingenovom životu otvorilo se 1648. godine, kada se preselio u vibrantni, kulturno bogati grad Harlem. Ovaj prelazak bio je više od obične promene okruženja; bila je to uranjanje u samo srce holandskog umetničkog sveta. Pridruživanjem prestižnom hartemskom esnafu Svetog Luke i aktivnošću u schutterij (građanskoj gardi), Cezar se utkao u samu tkaninu društvene i političke elite tog grada. Ove veze su bile presudne za dobijanje porudžbina koje će definisati njegov istorijski značaj.
Možda najzadahnutije dostignuće njegove karijere bilo je učešće u dekoraciji Oranje sale (Narandžaste sale) unutar dvorca Huis ten Bosch. Ovaj monumentalni poduhvat zahtevao je majstorstvo u istorijskom slikarstvu velikih formata, žanru koji zahteva i narativnu složenost i veličanstven razmer.
U tom okruženju, Cezar je pokazao svoju umeće u komponovanju epskih scena, spajajući istorijski značaj sa delikatnim dodirom. Njegov rad tokom ovog perioda prikazivao je rastuću sposobnost rukovanja složenim kompozicijama, osiguravajući da njegovo ime ostane vječno utisnuto u arhitektonsku istoriju Holandije.
U svojim poznim godinama, Cezar se vratio svojim korenima u Alkmaru, osnivajući radionicu koja je postala utočište za umetničko poučavanje. Ovaj period njegovog života obeležila je duboka posvećenost usavršavanju zanata i mentorstvu nove generacije slikara. Njegova kasna dela odražavaju život akumuliranog mudrosti, karakterisana ponavljajućom fascinacijom za nebeske i eterične teme. Postao je posebno poznat po prikazima krilatih figura — anđela i božanskih bića — izvedenih sa mekoćom koja je sugerisala prisustvo onoga što je uzvišeno.
Značaj Cezara van Everdingena ne leži samo u njegovim pojedinačnim remek-delima, već i u njegovoj ulozi mosta između strogih tradicija ranog 17. veka i emotivnijih, atmosferskih stilova koji su usledili. Njegova sposobnost da spoji preciznost holandskog portretstva sa veličanstvenošću istorijskog narativa ostaje svedočanstvo njegove svestranosti. Danas njegova dela služe kao vitalni prozori u dušu holandskog zlatnog doba, podsećajući nas na vreme kada je svaki potez četkice bio pokušaj da se uhvati večnost unutar prolaznog.
