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      Jan Rustem, 1762 – 1835

      De 15 mest berømte Jan Rustem-malerier, rangeret

      Det mest elskede maleri af Jan Rustem er Diana resting (1790), som hænger på Nationalmuseet i Warszawa i Warszawa. Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) og Portrait of Anna of Puczyńskis (1807) følger derefter blandt de lærreder, som læserne kender bedst. Vores katalog indeholder 15 værker af Jan Rustem: her er de 15 mest berømte, hver med årstal, museum og hvad der gør dem mindeværdige.

      Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion på lærred, eller som et kunsttryk i den størrelse, du vælger.

      Portræt af Jan Rustem
      Jan Rustem · 1762 – 1835
      Født · død
      1762 – 1835, Istanbul
      Værker i vores katalog
      15
      Mest kendte
      Diana resting (1790)
      Flest værker hos
      Nationalmuseet i Warszawa

      Top 10 Jan Rustem malerier: lærrederne som alle kender

      Diana resting (1790) af Jan Rustem
      1

      Diana resting

      1790 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

      In Jan Rustem's "Diana resting," the scene unfolds across a horizontal and balanced landscape that invites the eye to wander through a moment of quietude. At the heart of this arrangement, a reclining nude female figure rests, her form bathed in a gentle, luminous light that seems to emanate from the upper left. This soft glow traces the curves of her skin and highlights the smoothness of her limbs against…

      Håndmalet oliereproduktion fra $253 47 × 21 cm Samme størrelse som originalen $572 160 × 72 cm Bestil i original størrelse →
      Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) af Jan Rustem
      2

      Portrait of Karolina Kublicka née Sołtan(ca. 1780–?)

      1805 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

      In this classical oil portrait, Jan Rustem presents the Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), a bust-length study of a young woman. The composition is intimate, utilizing a close-up perspective that brings the viewer into the subject's immediate presence. She is positioned slightly off-center, her head turned in a three-quarter view toward the left of the frame. This subtle positioning creates a sense of quietude, as if we have…

      Håndmalet oliereproduktion fra $178 30 × 34 cm Samme størrelse som originalen $186 34 × 38 cm Bestil i original størrelse →
      Portrait of Anna of Puczyńskis (1807) af Jan Rustem
      3

      Portrait of Anna of Puczyńskis

      1807 · Oil On Panel · Nationalmuseet i Warszawa, Warszawa

      In the Portrait of Anna of Puczyńskis by Jan Rustem, a woman is captured in a bust-length study, her form positioned slightly off-center against a void of deep browns. She turns her gaze toward the viewer, her eyes holding a subtle, enigmatic expression that remains fixed and quiet. Dark, wavy hair frames a face of pale ochre and creamy whites, catching a soft light that defines the contours of her…

      Håndmalet oliereproduktion fra $178 29 × 35 cm
      Portrait of Joseph Saunders (1733–1845) (1810) af Jan Rustem
      4

      Portrait of Joseph Saunders (1733–1845)

      1810 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

      In this 1810 oil portrait, we encounter Joseph Saunders, a man whose presence is felt through a quiet, dignified composure. The composition is a bust-length study, positioning the subject slightly off-center as he gazes toward the right of the frame. There is a certain stillness here, a moment captured in the soft, directional light that enters from the upper left. This illumination carves out the volume of his face, casting…

      Håndmalet oliereproduktion fra $178 29 × 35 cm
      Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska. (1808) af Jan Rustem
      5

      Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska.

      1808 · Oil · Nationalmuseet i Warszawa, Warszawa

      The air on this paved terrace feels still, caught in the soft, luminous glow of a twilight sky. Two women and a small child occupy this space, framed by the heavy, silent presence of large architectural columns. On the left, a woman stands with a graceful, fluid movement, her white gown catching the light with a silky sheen. She holds a shallow dish aloft, an action that feels part of…

      Håndmalet oliereproduktion fra $228 28 × 35 cm Samme størrelse som originalen $795 125 × 159 cm Bestil i original størrelse →
      Portrait of Aniela Nowicka née Popławska (1807) af Jan Rustem
      6

      Portrait of Aniela Nowicka née Popławska

      1807 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

      The light enters from the upper left, brushing against the soft contours of Aniela Nowicka’s face with a gentle, directional touch. She sits in a three-quarter view, her gaze meeting the viewer with a calm that feels both poised and deeply private. There is a stillness here, a moment frozen in the early 19th century, where the deep, muted olive green of her drapery melts into a dark, nearly black…

      Håndmalet oliereproduktion fra $178 28 × 36 cm Samme størrelse som originalen $230 47 × 58 cm Bestil i original størrelse →
      Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev (1807) af Jan Rustem
      7

      Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev

      1807 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

      In this 1807 oil on canvas, we encounter a young woman captured in a moment of quietude. She is positioned slightly off-center, her gaze directed toward the left of the frame, creating a sense of introspective stillness. The composition is a bust-length portrait, where the soft, somewhat weathered texture of the paint suggests the passage of time. Her dark, curly hair provides a sharp textural contrast to the smooth, porcelain-like…

      Håndmalet oliereproduktion fra $178 29 × 34 cm Samme størrelse som originalen $246 52 × 62 cm Bestil i original størrelse →
      Self-portrait of Jonas Rustemas (1815) af Jan Rustem
      8

      Self-portrait of Jonas Rustemas

      1815 · Oil On Canvas · Lithuanian National Museum of Art, Vilnius

      In this close-up bust portrait, titled Self-portrait of Jonas Rustemas, the artist Jan Rustem presents himself as a middle-aged man. The subject is positioned slightly off-center, creating a subtle tension within the frame. He looks directly toward the viewer with a piercing, somewhat stern expression that demands immediate attention. This direct gaze establishes an intimate connection between the subject and the observer, stripping away any sense of artifice.

      Håndmalet oliereproduktion fra $178 28 × 36 cm
      Portrait of Edward Jan Römer (1806–1878) (1824) af Jan Rustem
      9

      Portrait of Edward Jan Römer (1806–1878)

      1824 · Oil · Nationalmuseet i Warszawa, Warszawa

      In this intimate oil portrait, we find ourselves in the presence of a young man, Edward Jan Römer, captured during a period of profound transition in his life. The composition is a close-up bust portrait, positioning the subject slightly off-center as he gazes toward the left of the frame. There is a certain stillness here, a moment of contemplation frozen in time. The lighting, descending softly from the upper left,…

      Håndmalet oliereproduktion fra $178 29 × 34 cm

      Flere lærreder af Jan Rustem, fra 11 til 15

      Hvad Jan Rustem har malet mest af

      De fire motiver, der optræder hyppigst på disse lærreder, hver med sit mest elskede eksempel.

      Hvor Jan Rustem's lærreder hænger

      De 2 museer, der rummer flest af malerierne på denne side.

      Museum By Værker af Jan Rustem Malerier fra denne liste
      Nationalmuseet i Warszawa, WarszawaNationalmuseet i Warszawa Warszawa 13 Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), Portrait of Anna of Puczyńskis
      Lithuanian National Museum of Art, VilniusLithuanian National Museum of Art Vilnius 2 Self-portrait of Jonas Rustemas, Portrait of Professor Josef Frank (1771–1842). Ca. 1819

      Jan Rustems mest elskede lærred fra hvert årti

      1. 1790s
        Diana resting (1790) af Jan Rustem
        Lærred 1 af 15

        Diana resting

        Alder 28 – 37 · Nationalmuseet i Warszawa

        In Jan Rustem's "Diana resting," the scene unfolds across a horizontal and balanced landscape that invites the eye to wander through a moment of quietude. At the heart…

      2. 1800s
        Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) af Jan Rustem
        2 ud af 15

        Portrait of Karolina Kublicka née Sołtan(ca. 1780–?)

        Alder 38 – 47 · Nationalmuseet i Warszawa

        In this classical oil portrait, Jan Rustem presents the Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), a bust-length study of a young woman. The composition is intimate, utilizing…

      3. 1810s
        Portrait of Joseph Saunders (1733–1845) (1810) af Jan Rustem
        Rangeret som nr. 4 ud af 15

        Portrait of Joseph Saunders (1733–1845)

        Alder 48 – 57 · Nationalmuseet i Warszawa

        In this 1810 oil portrait, we encounter Joseph Saunders, a man whose presence is felt through a quiet, dignified composure. The composition is a bust-length study, positioning the…

      4. 1820s
        Portrait of Edward Jan Römer (1806–1878) (1824) af Jan Rustem
        Rangeret som nr. 9 ud af 15

        Portrait of Edward Jan Römer (1806–1878)

        Alder 58 – 67 · Nationalmuseet i Warszawa

        In this intimate oil portrait, we find ourselves in the presence of a young man, Edward Jan Römer, captured during a period of profound transition in his life.…

      Om Jan Rustem's lærreder: dine spørgsmål besvaret

      Hvad er det mest kendte maleri af Jan Rustem?Læs svaret

      Diana resting (1790), Nationalmuseet i Warszawa, Warszawa. Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) og Portrait of Anna of Puczyńskis (1807) følger efter.

      Hvor gammel var Jan Rustem, da Diana resting blev malet?Læs svaret

      Jan Rustem, født i 1762, var 28 år gammel: Diana resting er fra 1790.

      Hvad er de 10 mest berømte malerier af Jan Rustem?Læs svaret

      Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), Portrait of Anna of Puczyńskis, Portrait of Joseph Saunders (1733–1845), Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska., Portrait of Aniela Nowicka née Popławska, Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev, Self-portrait of Jonas Rustemas, Portrait of Edward Jan Römer (1806–1878) og Male portrait. Hvert lærred i den ovenstående rangliste er angivet med årstal og museum.

      Hvor mange værker malede Jan Rustem i alt?Læs svaret

      15 værker af Jan Rustem er i vores katalog, dateret fra 1790 til 1824.

      Hvor kan jeg se Jan Rustems mest berømte lærreder?Læs svaret

      Primært i Nationalmuseet i Warszawa (Warszawa) og Lithuanian National Museum of Art (Vilnius); listen ovenfor nævner hvert museum og dets lærreder.

      Hvornår malede Jan Rustem de mest elskede lærreder?Læs svaret

      I 1800s, som udgør 5 af de 15 værker på denne side, herunder Portrait of Karolina Kublicka née Sołtan(ca. 1780–?).

      Hvilke er Jan Rustems tidligste og seneste berømte lærreder?Læs svaret

      Det tidligste lærred her er Diana resting (1790); det seneste er Portrait of Edward Jan Römer (1806–1878) (1824).

      Hvad malede Jan Rustem oftest?Læs svaret

      Woman (6), Portrait (6) og Man (4), fordelt på de 15 værker på denne side.

      Hvilket medie malede Jan Rustem oftest i?Læs svaret

      Oil On Canvas, anvendt i 6 af de 15 værker på denne side.

      Hvilke lærreder af Jan Rustem hænger på Nationalmuseet i Warszawa?Læs svaret

      Nationalmuseet i Warszawa, Warszawa har 13 af værkerne på denne side, herunder Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) og Portrait of Anna of Puczyńskis.

      Kan jeg købe en reproduktion af et lærred af Jan Rustem?Læs svaret

      Ja. Hvert maleri på denne side kan bestilles fra sin egen side som en håndmalet oliereproduktion eller som et kunsttryk i den størrelse, du vælger.

      Jan Rustem: et liv i maling

      A Life Bridging Cultures: The Story of Jonas Rustemas

      Jonas Rustemas, a name often echoed alongside his Polish alias Jan Rustem, occupies a fascinating, yet somewhat elusive position in the annals of 18th and 19th-century European art. Born in Constantinople in 1762, his life was one of remarkable transition and cultural synthesis. Orphaned at a young age, his trajectory took an unexpected turn when he was sponsored by Adam Kazimierz Czartoryski, a prominent figure of the Polish aristocracy and a dedicated patron of the arts. This act of generosity propelled the young Armenian boy westward, towards the heart of the Polish-Lithuanian Commonwealth around 1774, forever altering the course of his artistic development.

      Rustemas’s formative years were spent immersed in the vibrant artistic milieu of Warsaw. He received tutelage from two of the most celebrated painters working within the royal court: Jean-Pierre Norblin de la Gourdaine, renowned for his delicate genre scenes and masterful draftsmanship, and Marcello Bacciarelli, a portraitist whose skill lay in capturing the essence of aristocratic society. These influences are readily apparent in Rustemas’s early works – a refined attention to detail, a sensitivity to light and shadow, and an ability to portray both psychological depth and social standing within his subjects. He wasn't merely absorbing technique; he was learning to navigate the complex world of patronage, courtly aesthetics, and the subtle language of visual representation.

      From Warsaw to Vilnius: A Freemason’s Journey

      The late 1780s saw Rustemas embark on a period of travel that broadened his intellectual and artistic horizons. Between 1788 and 1790, he ventured into Germany, where he became initiated into the world of Freemasonry. This affiliation proved significant, shaping not only his worldview but also potentially influencing the symbolism embedded within his later paintings. The tenets of Enlightenment thought – reason, liberty, and fraternity – resonated deeply with Rustemas, and these ideals would subtly permeate his artistic practice. Upon returning to the Polish-Lithuanian Commonwealth in 1790, he settled for a time in Warsaw before ultimately relocating to Vilnius.

      Vilnius became the central stage of Rustemas’s career. In 1797, he began a long and fruitful association with Vilnius University, initially as an artist-in-residence and eventually ascending to the position of Professor of Painting in 1819. This appointment marked a turning point, solidifying his reputation as a leading figure in Lithuanian art education. He established a rigorous curriculum, emphasizing both technical proficiency and intellectual engagement. Rustemas wasn’t simply imparting skills; he was fostering a new generation of artists capable of contributing to the cultural landscape of the region.

      A Legacy Etched in Canvas: Students and Style

      Rustemas's impact extended far beyond his own artistic output, largely through the remarkable students he mentored. Among them were names that would become synonymous with Lithuanian national identity: Taras Shevchenko, the iconic Ukrainian poet and artist; Józef Oleszkiewicz, a celebrated landscape painter; Kanuty Rusiecki, known for his historical canvases; and Michał Kulesza, another prominent figure in 19th-century Lithuanian art. He instilled in them not only technical mastery but also a sense of national pride and artistic purpose.

      While Rustemas continued to paint throughout his life, retiring formally in 1826 though continuing to lecture until his death near Dūkštas in Lithuania in 1835, his style evolved. His portraits, while retaining the elegance inherited from Bacciarelli, gained a greater psychological intensity and emotional depth. He also explored historical subjects, often imbued with subtle allegorical meaning. Though not widely known outside of Eastern Europe during his lifetime, Rustemas’s work represents a unique fusion of artistic traditions – Armenian sensitivity, Polish refinement, and Lithuanian national consciousness.

      Historical Significance: A Bridge Between Worlds

      Jonas Rustemas stands as a compelling example of an artist whose life mirrored the turbulent political and cultural landscape of his time. He navigated shifting allegiances, embraced Enlightenment ideals, and dedicated himself to fostering artistic talent within a region undergoing profound change. His legacy is not merely confined to the canvases he produced but resides in the generations of artists he inspired. He was a bridge between worlds, seamlessly blending diverse influences into a distinctive artistic voice that continues to resonate today. His story serves as a poignant reminder of the power of art to transcend boundaries and shape national identities.