The Apothecary (The Chemist) (1661) is the painting Gabriel Metsu is best remembered for; it belongs to the Louvre, Paris. Lace-Maker (1648) and Noli me tangere (1667) complete the trio of best-loved canvases. Our catalogue counts 219 works by Gabriel Metsu. Here are the 100 most famous, with the year, the museum and the story of each canvas.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
Gabriel Metsu’s “The Apothecary,” painted in Leiden around 1661, isn't merely a portrait; it’s a meticulously crafted snapshot of a specific moment within the vibrant tapestry of 17th-century Holland. More than just depicting a man at his desk, Metsu has created an intimate scene brimming with quiet contemplation and subtle symbolism – a window into the intellectual and domestic life of a Dutch scholar. The painting immediately draws the eye…
A single light source from the upper left falls upon a young woman, pinning her to the center of a quiet room. She sits with a lace pillow for bobbin lace resting on her lap. Her gaze meets the viewer, steady and calm. The heavy drape of her skirt anchors the composition, while the crisp white linen of her collar catches the light. In the shadows behind her, the background…
In this oil on panel from 1667, we find ourselves drawn into a quiet, heavy atmosphere where the boundaries between the earthly and the divine seem to thin. The scene depicts the biblical encounter of Noli me tangere, capturing that precise, fleeting second when the resurrected Christ appears to Mary Magdalene. There is a profound sense of weight in the composition, anchored by two central figures set against a dark,…
The air in the room feels heavy, thick with the scent of old wood and the quiet tension of a game in progress. A group of figures huddles around a table, their bodies leaning inward as if drawn by an invisible force. The light, striking from an unseen source to the left, carves deep shadows into the corners of the room, creating a dramatic chiaroscuro that pulls the viewer into…
A woman stands within a quiet, opulent interior, her presence defined by the cool sheen of a silvery-blue gown. The light enters from the upper left, catching the heavy folds of her satin dress and the metallic glint of her jewelry. She holds a small book, a gesture of private thought or quiet devotion. At her feet, a small spaniel rests, its fur rendered with soft, precise detail against the…
The small canvas known as Boy Stealing an Apple from a Sleeping Woman captures a singular, quiet theft. Painted by Gabriel Metsu in 1662, this genre work focuses on a fleeting moment of domestic mischief. The scale is intimate, measuring 21.5 cm by 29 cm. It holds the viewer close to the table where the action unfolds.
The Old Drinker emerges from the shadows of the seventeenth century, a quiet moment captured in oil on panel. Gabriel Metsu brings this figure to life with a steady hand, fixing the man in a state of drowsy contentment. The work carries a date of about 1657 - 1658, a period when the artist's eye was attuned to the subtle textures of daily existence. Every brushstroke contributes to the weight…
A man and a woman sit in a dimly lit room, centered around a small, cloth-covered table. The scene captures a quiet moment of domesticity, where the focus rests on the simple act of sharing a meal. A single light source from the side casts a strong glow across the white tablecloth, the ceramic pitcher, and the subjects' faces, leaving the background in deep, shadowy greens and blacks. This use…
In the heart of the Dutch Golden Age, a period defined by unprecedented prosperity and a profound fascination with the beauty of everyday life, Gabriel Metsu captured a scene of unparalleled serenity. His masterpiece, "Lady Seated in a Window," painted around 1661, is far more than a mere portrait; it is an invitation into a private, contemplative world. As we gaze upon this exquisite work, we find ourselves drawn to…
In this intimate painting, Old Woman Meditating, Gabriel Metsu invites us into a quiet moment of private reflection. The work is an oil on panel, a medium that allows for a particular level of detail in the rendering of the subject's features and the textures of her surroundings. It is a piece that captures a sense of stillness, focusing on the internal life of the sitter as she engages with…
Gabriel Metsu’s 1661 painting, “Visit to the Nursery, after the Birth of Sara Hinlopen,” isn’t a grand historical scene or a bombastic portrait; it’s something far more intimate…
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A Young Woman Asleep is a painting by the artist Gabriel Metsu. Created in 1656, this work belongs to the genre art category. The subject of the piece…
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A Card Game is a Dutch Golden Age genre painting that captures an intimate moment of leisure within a dimly lit interior. The scene is centered around a…
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The painting titled Kitchen Maid is a work by Gabriel Metsu. It captures a quiet moment of domesticity, frozen in the year 1648. The artist, born in 1629,…
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This intimate Self-portrait by the Dutch painter Gabriel Metsu offers a quiet glimpse into the artist's own presence. Executed in oil on panel, the work possesses a physical…
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In this intimate Dutch Golden Age genre painting, a solitary woman is captured in a moment of repose. Positioned to the right of the center, the seated figure…
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This work, titled Woman Eating, is also known as The Cat’s Breakfast, and it was painted by Gabriël Metsu. Created ca. 1661 - ca. 1664, the piece offers…
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The gunsmith. a blacksmith and his servant working in a blacksmith. The blacksmith hits the anvil with a hammer on a piece of iron. The servant is at…
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We are looking at Smoker with a pipe and a pitcher in his hands, a work by the Dutch artist Gabriel Metsu. This piece was executed in 1662,…
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Gabriel Metsu's "A Young Woman Composing Music," painted around 1662-1663, isn’t merely a depiction of a scene; it’s a carefully constructed tableau brimming with quiet observation and subtle…
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The Kitchenmaid emerges from the quietude of the Dutch Golden Age, a genre painting that captures a singular, suspended moment of domestic life. Created by Gabriel Metsu in…
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In this genre painting, titled Woman Selling Fish, the artist Gabriel Metsu captures a quiet, everyday transaction between two women. The scene is set within an outdoor market,…
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In the heart of the Dutch Golden Age, few works capture the profound tension between worldly temptation and spiritual homecoming as exquisitely as Gabriel Metsu’s The Prodigal Son.…
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The Triumph of Justice emerges from the brush of Gabriel Metsu, a male Dutch painter who captures a profound moral struggle within this oil on canvas. The scene…
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Gabriel Metsu’s “La Peleuse de Pomme,” painted circa 1660, stands as a quintessential example of Dutch Golden Age genre painting—a movement dedicated to portraying scenes from everyday life…
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The Smoker at the Fireside is a genre art painting by the Dutch artist Gabriel Metsu. Executed in 1657, this work offers a quiet glimpse into a private,…
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A Portrait of Metsu's Wife is an oil on panel painting created by the Dutch artist Gabriel Metsu. The work dates to 1660. This portrait focuses on a…
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The Huntsman is a genre painting by Gabriel Metsu, executed in 1661. This oil on panel work belongs to the Dutch Golden Age, a period defined by the…
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Portrait of a Woman as Painter is a work attributed to Gabriel Metsu. Also known as A Supposed Portrait of Metsu's Mother, the piece offers a glimpse into…
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In "Woman with a book on her lap and a dog besides her" by Gabriel Metsu, the composition centers on a woman positioned slightly to the right. A…
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Woman at her Toilette, painted in 1656, is a work by Gabriel Metsu. The artist was born in Leiden, Netherlands, in 1629 and died in 1667.
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Gabriel Metsu's "The Letter Writer Surprised," painted around 1660, isn’t merely a depiction of domesticity; it’s a carefully constructed tableau brimming with quiet observation and subtle social commentary.…
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The Note is an oil on canvas work by the Dutch artist Gabriel Metsu. Created in 1650, this piece belongs to the genre painting tradition of the Dutch…
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The painting Girl at the Mirror was executed by Gabriel Metsu in 1662. This Dutch Golden Age genre work captures a young woman in a quiet, private moment…
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The Hunter's Present is an oil on canvas painting by Gabriel Metsu. Measuring 51 x 48 cm, the work belongs to the Dutch Golden Age. It is currently…
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A Woman seated at a Table and a Man tuning a Violin is an oil on canvas created by Gabriel Metsu. The work dates to about 1658. This…
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In this intimate scene, we find an elderly man seated by a window, his attention entirely captured by the document held in his hands. The light enters from…
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The painting titled An Old Woman with a Book is a work by the artist Gabriel Metsu. This oil on canvas object is classified as genre art. It…
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To gaze upon Gabriel Metsu’s The Hunter's Gift is to step across the threshold and into a moment suspended in time—a tableau vivant steeped in the quiet richness…
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Gabriel Metsu’s Woman Reading a Book by a Window: En Reflejo de Serenidad y Conocimiento Gabriel Metsu (1629 – 1667), en el corazón del brillo dorado holandés, fue…
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In the quiet, amber-hued corners of seventeenth-century Dutch life, few artists captured the delicate tension between private ritual and social observation as masterfully as Gabriel Metsu. His 1648…
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In the soft, amber glow of a seventeenth-century Dutch interior, a single moment of domesticity is elevated to the level of high art. Gabriel Metsu’s "Woman Peeling an…
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In the soft, amber glow of a seventeenth-century interior, Gabriel Metsu captures a moment of profound stillness that transcends the centuries. An Old Woman Asleep is not merely…
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The quiet intimacy of Man Writing a Letter by Gabriel Metsu invites us into a private moment frozen in time. Created in 1662, this oil on panel painting…
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The portrait titled An old man holding a pipe and a jug (Smoker) captures a singular moment of stillness. Created by Gabriel Metsu, the work is also recognized…
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Gabriel Metsu's "Soldier Paying a Visit to a Young Lady," painted circa 1660-61, isn’t merely a portrait; it’s a meticulously crafted tableau of domesticity and quiet observation, a…
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An old woman reads sitting in a chair from a book. She uses glasses in her right hand to read the text.
Bring this light home →The four subjects that return most often on these canvases, each with its best-loved example.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Gabriel Metsu | Malerier fra denne liste |
|---|---|---|---|
 Rijksmuseum |
Amsterdam | 9 | The Old Drinker, Man and woman sharing a meal, Woman Eating |
 Louvre |
Paris | 14 | The Apothecary (The Chemist), LA PELEUSE DE POMME, L'APOTHICAIRE, DIT AUSSI LE CHIMISTE |
 Mauritshuis |
Haag | 4 | A Young Woman Composing Music, The Triumph of Justice, The Huntsman |
 Nationalmuseet i Warszawa |
Warszawa | 3 | Card players, Smoker with a pipe and a pitcher in his hands, An old man holding a pipe and a jug (Smoker) |
 Statens Museum for Kunst |
København | 3 | Boy Stealing an Apple from a Sleeping Woman, A Sleeping Saleswoman, Portrait of a Man |
 Gemäldegalerie |
Berlin | 3 | The Cook, The Pancake Baker with a Boy, The Duet |
 Metropolitan Museum of Art |
New York | 7 | Lady Seated in a Window, Visit to the Nursery, after the Birth of Sara Hinlopen |
 Hermitage Museum |
Sankt Petersborg | 6 | Lace-Maker, The Prodigal Son |
A single light source from the upper left falls upon a young woman, pinning her to the center of a quiet room. She sits with a lace pillow…
The air in the room feels heavy, thick with the scent of old wood and the quiet tension of a game in progress. A group of figures huddles…
Gabriel Metsu’s “The Apothecary,” painted in Leiden around 1661, isn't merely a portrait; it’s a meticulously crafted snapshot of a specific moment within the vibrant tapestry of 17th-century…
The Apothecary (The Chemist) (1661), Louvre, Paris. Lace-Maker (1648) and Noli me tangere (1667) follow.
Gabriel Metsu, born in 1629, was 32 years old: The Apothecary (The Chemist) dates from 1661.
The Apothecary (The Chemist), Lace-Maker, Noli me tangere, Card players, Portrait of Lucia Wijbrants (1638-1719), Boy Stealing an Apple from a Sleeping Woman, The Old Drinker, Man and woman sharing a meal, Lady Seated in a Window og Old Woman Meditating. Each canvas in the ranking above comes with its year and its museum.
219 works by Gabriel Metsu are in our catalogue, dated 1640 to 1667.
Mostly in Rijksmuseum (Amsterdam), Louvre (Paris) og Mauritshuis (Haag); the list above names each museum and its canvases.
In 1650s, which gave 48 of the 100 works on this page, Card players among them.
The earliest canvas here is The Prodigal Son (1640); the latest is Noli me tangere (1667).
Woman (24), Table (12) og Man (11), across the 100 works on this page.
Oil On Canvas, used in 22 of the 100 works on this page.
Baroque og Dutch baroque, as the canvases on this page show.
The Rijksmuseum, Amsterdam holds 7 of the works on this page, among them The Old Drinker, Man and woman sharing a meal og Woman Eating.
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
Gabriel Metsu var en maler, der bevægede sig gennem mange forskellige motiver. Han lod sig aldrig binde til én bestemt arbejdsform eller én type scene i længere tid. Hans hænder var lige så fortrolige med historiemalerier og portrætter, som de var med stilleben og genrebilleder. Denne nægtelse af at følge en enkelt sti gjorde hans produktion mangfoldig og svær at indfange under én enkelt metode.
Han blev født i Leiden i 1629. Hans far, Jacques Metsu, arbejdede som maler og tekstildesigner, mens hans mor, Jacquemijn Garniers, var jordemoder. Disse tidlige omgivelser i Leiden lagde fundamentet for et liv brugt på at iagttage verdens detaljer. Han flyttede senere til Amsterdam, men hans rødder forblev dybt forankret i det hollandske landskab i det syvende århundrede.
Hans værker fokuserede ofte på hverdagens stille øjeblikke. Han havde en særlig evne til at indfange mennesker i hjemlige rammer, hvor han undertiden rettede blikket mod måden, lyset ramte en overflade på, eller hvordan et menneske holdt en genstand. Mens nogle af hans samtidige søgte en specifik, genkendelig signatur i deres penselstrøg, ændrede Gabriel Metsu ofte sin tilgang. Han var en eklektisk maler, der skiftede fokus mellem historiens store fortællinger og de mindre, mere intime scener af mennesker i deres egne hjem.
Gabriel Metsu blev født i Leiden i 1629. Hans far, Jacques Metsu, var maler og tekstilarbejder fra Hainault. Denne tætte forbindelse til håndværket har sandsynligvis præget hjemmets tidlige atmosfære, selvom Jacques gik bort i marts 1629, kort efter Gabriels fødsel. Den unge kunstner voksede op i Leidens kulturelle miljø, et sted hvor de visuelle kunstarter udgjorde en central del af dagligdagen. Allerede i 1648 var han blevet medstifter af Leidens malergilde, hvilket markerede hans etablering som en uafhængig mester i det lokale samfund.
De præcise detaljer omkring hans tidlige uddannelse er stadig genstand for debat. Det er muligt, at han studerede i Utrecht under de katolske malere Nicolaus Knüpfer og Jan Weenix. Hans kunstneriske udvikling blev yderligere formet gennem hans tid som både lærer og elev, da han uddannede Michiel van Musscher og Joost van Geel. Disse formative år lagde den tekniske grundsten til en karriere, der med tiden ville bevæge sig mod de hjemlige scener og portrætter, som han i dag er så berømt for.
I 1648 trådte Metsu ind i Leiden-malernes gilde som et af dets allerførste medlemmer. Denne periode i Leiden blev præget af et liv i tæt samspil med et lokalt kunstnerisk fællesskab, selvom hans ophold i byen var relativt kortvarigt. Allerede i 1650 ophørte han med at være medlem af lauget, og hans fokus begyndte at skifte, efterhånden som han bevægede sig mod Amsterdam omkring 1655. Denne overgang markerede ikke blot en ændring i hans fysiske omgivelser, men også en transformation i de motiver og livstemaer, han valgte at observere og forevige.
Da han først havde fundet fodfæste i Amsterdam, bosatte han sig ved den livlige Prinsengracht. Hans hjem lå i nærheden af hans slægtninge, børnene af sukkerraffinaderen Philips Metsu. Denne nærhed til familien og det pulserende liv i kanaldistriktet dannede en konstant og levende kulisse for hans kunstneriske skaben. Han tilbragte resten af sit liv i denne by, hvor han uophørligt udviklede de scener af hjemlig hygge og socialt samvær, som i dag definerer hans unikke eftermæle.
Gabriel Metsus penselstrøg bevægede sig med en bemærkelsesværdig alsidighed mellem vidt forskellige måder at betragte verden på. Han trak på Rembrandts dramatiske chiaroscuro og brugte lys og skygge til at give et rum dets tyngde og atmosfære. På andre tidspunkter søgte hans pensel den lysende realisme, som man finder i værkerne af Vermeer. Denne alsidighed gjorde det muligt for ham at skifte fra en tung, dramatisk lyssætning til et klarere og mere jævnt skær. Han vendte ofte blikket mod Leidens fijnschilders, hvor han fokuserede på et niveau af minutiøse detaljer, der krævede en rolig og tålmodig hånd. Hans kunst var ikke bundet til én enkelt metode, men tilpassede sig i stedet de specifikke behov, som det motiv, han stod overfor, krævede.
Han besad en særlig evne til at indfange de stille bevægelser i et rum. Hans malerier centrerede sig ofte om unge kvinder, livlige markedsscener eller de vejrbidte ansigter hos de ældre. Han studerede nøje, hvordan lyset faldt på en silkeærme eller en keramisk kande. Denne sans for detaljen strakte sig helt ind i menneskets kropssprog; han benyttede subtile lyseffekter til at antyde hans subjekters psykologiske tilstand, hvor han indfangede et flygtigt blik eller et øjebliks privat tankevirksomhed. I hans hjemlige interiører talte placeringen af en stol eller et hoveds hældning til hverdagens stille realiteter.
Gabriel Metsus livsgrundlag var tæt knyttet til de konstante efterspørgsler fra den fremspirende købmandsklasse og de velhavende husholdninger i den hollandske guldalder. I Delft fandt han en fast base i hjemmet hos Van der Veer-familien, hvor han tjente som deres hofmaler – en position, der sandsynligvis sikrede ham en jævn strøm af både interiørscener og portrætter. Denne tætte forbindelse til en fremtrædende familie vidner om en dyb tillid og en etableret plads i deres sociale kredsløb.
Da han slog sig ned i Amsterdam, udvidede hans netværk sig til at omfatte betydningsfulde skikkelser som tekstilhandleren Jan J. Hinlopen. Sådanne mæcener gav kunstneren de nødvendige midler til at udforske et væld af motiver, lige fra de mest stille, private rum til mere komplekse genrebilleder. Hans værker fungerede ofte som et spejl for disse menneskers smag og indfangede de teksturer og sociale nuancer, der udgjorde deres dagligdag. Han lod sig også inspirere af andre kunstneres kompositionelle greb, herunder Gerard ter Borchs metode med at arrangere tematiske malerpar, en teknik som Metsu adopterede for at skabe narrative forbindelser mellem selvstændige lærreder.
Gabriel Metsus penselstrøg bevægede sig gennem et væld af vidt forskellige motiver, hvor han ofte skiftede fokus mellem rummets dybe stilhed og gadens livlige larm. I 1653 skabte han The Woman taken in Adultery, et storslået værk, der vidner om hans tidlige engagement i dramatiske temaer. Mod 1659 vendte hans opmærksomhed sig mod de sociale sammenkomster i A Musical Party. Disse værker afslører en maler, der var dybt fascineret af, hvordan mennesker indtager et rum – hvad enten det sker gennem et pludseligt øjebliks spænding eller gennem den fælles rytme, der opstår i et selskab.
Hans senere år markerede en bevægelse mod det hjemlige livs stilhed. The Apothecary (The Chemist), malet i 1661, indfanger et specifikt og fredfyldt øjeblik af handel og menneskelig interaktion. Denne interesse for dagliglivets teksturer fortsatte med The Poultry Woman i 1662, hvor fokus hviler på de enkle realiteter i et markedsmiljø. Selv i de mere melankolske kompositioner, som f.eks. The Sick Child fra omkring 1660, ses en tydelig sans for, hvordan lyset falder hen over en scene, i stil med de lysende interiører, man finder hos hans samtidige.
Omkring 1658 havde Gabriel Metsu fundet sin faste base i Amsterdam, hvor han indgik ægteskab med Isabella de Wolff. Deres forening bragte en ny følelse af hjemlig tryghed ind i hans liv, et tema der ofte kom til udtryk på hans lærreder. Han bosatte sig ved Prinsengracht, en beliggenhed ved kanalen tæt på både et bryggeri og et dagligt grønt marked. Denne umiddelbare nærhed til byens pulserende liv og bevægelse har sandsynligvis præget de scener af både det offentlige og det private liv, som han indfangede i sine senere år.
Hans liv blev dog afbrudt, mens han kun var 38 år gammel. I 1667 gik han bort og blev stedt til hvile i Nieuwe Kerk. Efter hans død forlod Isabella de Wolff Amsterdam til fordel for Enkhuizen. Stilheden i hans sidste år i storbyen står i skarp kontrast til de livlige markedsscener og de larmende værtshusforsamlinger, som han engang så mesterligt portrætterede.
Gabriel Metsus tilstedeværelse i den hollandske guldalder satte et uudsletteligt præg på den måde, hvorpå malere tilgik de stille kroge i et rum. Hans evne til at indfange de subtile lysskift i hjemlige omgivelser og den psykologiske tyngde i en simpel gestus var med til at forme retningen for genremaleriet. Hans værk tilskrives indflydelse på flere af epokens store skikkelser, herunder Johannes Vermeer, Jan Steen, Frans van Mieris og Pieter de Hooch. Måden, han håndterede lyset på, samt iscenesættelsen af figurer i et rum, vidner om en dyb forbindelse til de kunstneriske strømninger, der udfoldede sig i midten af det syvende århundrede.
Der findes en helt særlig måde, hvorpå han observerede verden på, som synes at have genlydt i hans samtidiges værker. Hans indflydelse er særligt bemærkelsesværdig i Pieter de Hoochs malerier, hvor fokus på interiøret og et øjebliks stilhed afspejler en lignende interesse for dagliglivets teksturer. Ved at bevæge sig mellem de store historiemalerier og de intime scener var han med til at udvide grænserne for, hvad en maler kunne vælge at skildre – en rejse fra de storslåede fortællinger til de små, uforstyrrede detaljer i et hushold."
At spore eftervirkningerne af hans malerier kræver en rejse gennem flere af verdens betydningsfulde samlinger. I Amsterdam finder man Rijksmuseum, som huser værker som The Sick Child, et mesterværk malet omkring år 1660. Hans enestående evne til at indfange de stille, hjemlige øjeblikke er også tydelig i de sale, hvor Louvre i Paris udstiller flere af hans lærreder, herunder The Apothecary og Vegetable Market in Amsterdam. Disse værker tilbyder et intimt indblik i det syttende århundredes teksturer og dagliglivets finere detaljer.
På den anden side af Atlanten bevarer Metropolitan Museum of Art i New York hans kunstneriske arv, herunder A Musical Party og A Woman Seated at a Window. Disse malerier er vidnesbyrd om hans sublime beherskelse af lysets spil i interiøret. I London finder man værker i Wallace Collection, såsom The Sleeping Sportsman, der reflekterer de specifikke sociale scener, han ofte skildrede. Hans malerier er desuden indlemmet i andre betydningsfulde samlinger, herunder Hermitage Museum i Sankt Petersborg og Galleria degli Uffizi i Firenze.
