Z všech obrazů autora Marie Duchatel je nejznámější dílo Portrait of Hendrik Casimir II (1657-96), ruler of Nassau-Dietz (1690); visí v Rijksmuseum, Amsterdam. Z 2 děl umělce Marie Duchatel v našem katalogu je těchto 2 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.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Marie Duchatel | Obrazy z tohoto seznamu |
|---|---|---|---|
| Amsterdam | 2 | Portrait of Hendrik Casimir II (1657-96), ruler of Nassau-Dietz, Portrait of Henriette Amalia van Anhalt-Dessau (1666-1726), wife of Hendrik Casimir II, ruler of Nassau-Dietz |
Pouhých 2 let, od 1689 do 1690, odděluje historická plátna umělce Marie Duchatel na této stránce: zde je každý rok v barvách.
Portrait of Hendrik Casimir II (1657-96), ruler of Nassau-Dietz (1690)
Marie Duchatel, narozen 1652, měl 38 let: dílo Portrait of Hendrik Casimir II (1657-96), ruler of Nassau-Dietz pochází z roku 1690.
V našem katalogu je 2 děl umělce Marie Duchatel, datovaných od 1689 do 1690.
Většinou v Rijksmuseum (Amsterdam); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
Nejstarší plátno se zde datuje do Portrait of Henriette Amalia van Anhalt-Dessau (1666-1726), wife of Hendrik Casimir II, ruler of Nassau-Dietz (1689); nejnovější je z Portrait of Hendrik Casimir II (1657-96), ruler of Nassau-Dietz (1690).
Muzeum Rijksmuseum, Amsterdam se vlastní 2 děl z této stránky, mezi nimiž jsou i Portrait of Hendrik Casimir II (1657-96), ruler of Nassau-Dietz a Portrait of Henriette Amalia van Anhalt-Dessau (1666-1726), wife of Hendrik Casimir II, ruler of Nassau-Dietz.
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
Marie Duchatel lived a life that moved between the quiet corners of Brussels and the formal halls of European courts. Born in 1652, she learned the craft of painting at the hand of her father, François Duchatel. Her training was not merely a hobby but a foundation that would carry her across borders. By 1675, she was traveling through the Danish court, where she painted pendant portraits of King Christian V and his wife, Charlotte. These small, detailed works required a steady hand and a keen eye for the likeness of those in power.
Her travels took her to East Frisia around the same time. There, she received a jewel from Christine Charlotte of Württemberg, a princess consort of George Christian, Prince of East Frisia. This period of her life was marked by movement and the shifting requirements of her patrons. She eventually returned to Brussels in 1677, where she likely met Eglon van der Neer. The two married around 1680, and her life became intertwined with his as they traveled together through Europe.
Duchatel found her place in the specialized world of the miniaturist. While her husband, Eglon van der Neer, worked on larger canvases, she focused on the intimate scale of portraiture. Her work was characterized by a precision that allowed for the depiction of fine details within a very small space. Her career was defined by several specific engagements and connections:
Between 1689 and 1691, she accompanied her husband to Düsseldorf, Germany. During this time, he was commissioned to portray the princess Maria Anna of Neuburg, and she may have assisted him with the work. Her presence in these circles was not merely as a companion; she was a working artist in her own right, even when her husband’s commissions took center stage.
In her later years, Duchatel lived in Antwerp, staying in an apartment in the St. Joseph boarding house in the Keyserstraat. She lived apart from her husband, spending her days painting. Her son, Johannes van der Neer, followed a path in the arts as a sculptor, eventually establishing a dynasty of sculptors in Antwerp that lasted until the 19th century. Marie Duchatel died in 1692, leaving behind a body of work that captured the faces of the nobility in the smallest, most detailed of formats.