Z všech obrazů autora Jacob Coning je nejznámější dílo Nicolas de Seue (1691). Hned za nimi následují Portrait of Peter Wessel Tordenskiold (1700) a Nikolaj Sibbern (1720). Z 16 děl umělce Jacob Coning v našem katalogu je těchto 16 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
3 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Jacob Coning | Obrazy z tohoto seznamu |
|---|---|---|---|
| Oslo | 9 | Krapfoss near Moss, Halden, seen from a hill on the foreground, View of Moss | |
| Oslo | 3 | Portrait of Peter Wessel Tordenskiold, Halden (Fredrikshald), Oslo Hospital | |
| Rotterdam | 1 | The Cattle Pen |
Nicolas de Seue (1691), následovaný dílem Portrait of Peter Wessel Tordenskiold (1700) a Nikolaj Sibbern (1720).
Jacob Coning, narozen 1647, měl 44 let: dílo Nicolas de Seue pochází z roku 1691.
Nicolas de Seue, Portrait of Peter Wessel Tordenskiold, Nikolaj Sibbern, The Cattle Pen, Halden (Fredrikshald), Oslo Hospital, Krapfoss near Moss, Halden, seen from a hill on the foreground, View of Moss a Akershus Fortress near Christiania/Oslo. U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.
V našem katalogu je 16 děl umělce Jacob Coning, datovaných od 1666 do 1720.
Většinou v Národní muzeum umění, architektury a designu (Oslo), Oslo Museum (Oslo) a Museum Boijmans Van Beuningen (Rotterdam); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1690s, které tvoří 10 z 16 děl na této stránce, mezi nimi i Nicolas de Seue.
Nejstarší plátno se zde datuje do The Cattle Pen (1666); nejnovější je z Nikolaj Sibbern (1720).
Muzeum Národní muzeum umění, architektury a designu, Oslo se vlastní 9 děl z této stránky, mezi nimiž jsou i Krapfoss near Moss, Halden, seen from a hill on the foreground a View of Moss.
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
In the golden twilight of the seventeenth century, a period defined by the meticulous observation of the natural world, Jacob Coning emerged as a vital bridge between the storied traditions of Dutch landscape painting and the burgeoning courtly aesthetics of Denmark-Norway. Born around 1647 in The Hague, Coning was steeped in the rich artistic heritage of his homeland from his very first breaths. As the son of the Dutch painter Jacob Koninck, his apprenticeship began within the intimate confines of a family workshop, where he learned to capture the subtle nuances of light and atmosphere that had made Dutch art the envy of Europe. This foundational training was further refined under the guidance of masters such as Adriaen van de Velde, an influence that undoubtedly instilled in him a profound respect for topographical accuracy and the delicate interplay of shadow and sky.
The trajectory of Coning’s life took a transformative turn in 1676 when he traveled to Copenhagen. This migration was more than a mere change of scenery; it was a pivotal moment that allowed him to transplant the sophisticated techniques of the Dutch school into a new cultural landscape. Settling in Denmark, Coning found himself uniquely positioned to serve the needs of the Danish Court. His arrival coincided with a period where the nobility sought to document their lands and estates with a sense of grandeur and permanence. Through his marriage to Dorothea Tranberg, a lady-in-waiting to Queen Charlotte Amalie, Coning secured a prestigious foothold within the royal circle, eventually earning the esteemed title of painter to the Danish Court.
Coning’s oeuvre is characterized by a remarkable duality, oscillating between the intimate precision of topographical painting and the formal dignity of portraiture. He was a pioneer in Denmark-Norway, specializing in landscapes that functioned as much as historical documents as they did works of fine art. His approach to topography was not merely about mapping terrain; it was about capturing the soul of a place. Whether rendering the sweeping vistas of Norway or the manicured estates of Denmark, Coning possessed an uncanny ability to imbable his scenes with a sense of lived reality and atmospheric depth.
His technical mastery is perhaps most evident in his ability to navigate various artistic demands:
Despite his proximity to royal splendor, Coning’s personal journey was marked by the harsh realities of economic instability. The life of a court painter, while prestigious, did not always guarantee financial security. He faced periods of significant hardship, often finding himself forced to auction off his beloved creations to sustain himself. This struggle adds a poignant layer to his legacy, painting a picture of an artist whose dedication to his craft persisted even amidst the shadows of poverty.
The historical significance of Jacob Coning lies in his role as a cultural conduit. He did not merely bring Dutch techniques to Scandinavia; he helped foster a new visual language for the region. His efforts to establish an art academy in Copenhagen, alongside a circle of contemporary artists, reflect his vision for a structured and flourishing artistic community in Denmark. Though he spent his final years in the humble surroundings of a reformed church poorhouse, his impact on the Northern European landscape tradition remains indelible.
Today, Coning’s works are cherished not only as beautiful objects of art but as essential windows into the past. His landscapes remain significant for their cultural and historic value, offering contemporary viewers a glimpse into the topography and spirit of a bygone era. Through his brush, the rugged beauty of the North and the refined elegance of the Court continue to breathe, preserved in the enduring legacy of a true master of observation.