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      Godfrey Kneller, 1646 – 1723

      Godfrey Knellers 100 mest berømte malerier

      Isaac Newton (1702) er det maleri, som Godfrey Kneller er bedst kendt for. Portrait of Pyotr Potyomkin (1682) og William Russell, 1st Duke of Bedford (1690) fuldender trioen af de mest elskede lærreder. Vores katalog indeholder 372 værker af Godfrey Kneller. Her er de 100 mest berømte, med årstal, museum og historien bag hvert lærred.

      Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 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 Godfrey Kneller
      Godfrey Kneller · 1646 – 1723
      Født · død
      1646 – 1723, Lübeck
      Bevægelse
      Baroque style
      Værker i vores katalog
      372
      Mest kendte
      Isaac Newton (1702)
      Flest værker hos
      National Portrait Gallery

      De ti mest elskede malerier af Godfrey Kneller

      Isaac Newton (1702) af Godfrey Kneller
      1

      Isaac Newton

      1702 · Oil On Canvas

      This portrait of Isaac Newton was executed by Sir Godfrey Kneller, Bt. in 1702. The sitter, recognized as one of the greatest of all scientists and thinkers, is presented through the meticulous technique of a painter who served the courts of Charles II, James II, William and Mary, and George I. Kneller’s position as a prominent portraitist is reflected in this depiction of a man whose intellectual contributions fundamentally altered…

      Portrait of Pyotr Potyomkin (1682) af Godfrey Kneller
      2

      Portrait of Pyotr Potyomkin

      1682 · Oil On Canvas · Hermitage Museum, Sankt Petersborg

      Sir Godfrey Kneller’s “Portrait of Pyotr Potyomkin” (1682) is more than just a likeness; it's a meticulously crafted tableau of power, ambition, and the carefully constructed image of a formidable Russian statesman. Painted during the reign of Charles II in England, this remarkable work offers a rare glimpse into the intricate world of European diplomacy and the burgeoning influence of Russia on the continent. The portrait depicts Potyomkin, a high-ranking…

      William Russell, 1st Duke of Bedford (1690) af Godfrey Kneller
      3

      William Russell, 1st Duke of Bedford

      1690 · Oil On Canvas · National Portrait Gallery, London

      A single figure occupies the center of the frame, anchored by the gravity of his own station. William Russell, 1st Duke of Bedford, is rendered in a moment of stillness, his presence defined by the heavy architecture of his ceremonial robes. The light catches the sharp, white edges of a lace cravat and the powdered texture of a voluminous periwig. He is a pillar of fabric and bone against a…

      Thomas Wharton, 1st Marquess of Wharton (1710) af Godfrey Kneller
      4

      Thomas Wharton, 1st Marquess of Wharton

      1710 · Oil On Canvas · National Portrait Gallery, London

      A single light source strikes from the upper left, carving the face of Thomas Wharton out of a deep, somber shadow. He sits in a three-quarter pose, his gaze fixed directly upon the viewer with a steady, unblinking authority. The darkness behind him is a warm, muted brown, pushing his figure forward into the room. His hair, a voluminous mass of light brown curls, frames a face of smooth skin…

      Richard Lumley, 2nd Earl of Scarbrough (1717) af Godfrey Kneller
      5

      Richard Lumley, 2nd Earl of Scarbrough

      1717 · Oil On Canvas · National Portrait Gallery, London

      A single, heavy shadow anchors the room. Within this darkness, Richard Lumley, 2nd Earl of Scarbrough, emerges through a sudden collision of light and texture. He is positioned in a three-quarter view, his body turned slightly away while his eyes lock onto the viewer with a steady, direct gaze. A voluminous, light brown periwig frames a face rendered with smooth, pale precision. The light catches the crest of his white…

      Queen Anne (1690) af Godfrey Kneller
      6

      Queen Anne

      1690 · Oil · National Portrait Gallery, London

      In this 1690 portrait, Queen Anne is presented with a quiet, commanding dignity that defines the Baroque era. She is captured in a three-quarter length pose, standing with a poised elegance that suggests both her royal status and a certain personal composure. The composition draws the eye through the sweeping curves of her heavy drapery and the fluid folds of her gown, creating a sense of movement within a formal…

      Robert Harley, 1st Earl of Oxford (1714) af Godfrey Kneller
      7

      Robert Harley, 1st Earl of Oxford

      1714 · Oil On Canvas · National Portrait Gallery, London

      The portrait presents Robert Harley, 1st Earl of Oxford, in a vertical three-quarter length composition. He is positioned slightly off-center against a muted, dark ochre background. The subject wears a large powdered wig and an elaborate lace cravat. A heavy blue mantle, lined with white ermine fur, drapes over his shoulders and falls in voluminous, flowing curves. Beneath this, his period clothing features structured silhouettes and textures of silk and…

      Sir Samuel Garth (1707) af Godfrey Kneller
      8

      Sir Samuel Garth

      1707 · Oil · National Portrait Gallery, London

      The room falls away into a deep, impenetrable darkness, leaving only the man to emerge from the gloom. He sits in a three-quarter view, his body angled toward the right while his gaze meets the viewer from the left, creating an immediate sense of encounter. A strong, singular light source strikes his face and the voluminous, snowy curls of his powdered wig, casting the rest of his form into a…

      Charles Townshend, 2nd Viscount Townshend (1704) af Godfrey Kneller
      9

      Charles Townshend, 2nd Viscount Townshend

      1704 · Oil On Canvas · National Portrait Gallery, London

      This oil on canvas portrait by Sir Godfrey Kneller, Bt. depicts Charles Townshend, 2nd Viscount Townshend. The subject is presented in a full-length, vertical composition, positioned slightly off-center against a dark, atmospheric background. He is shown wearing voluminous red velvet robes accented by white ermine fur and a lace cravat. A large, white wig frames his face, which is illuminated by a light source from the side, creating a chiaroscuro…

      Charles Fitzroy, 2nd Duke of Grafton (1703) af Godfrey Kneller
      10

      Charles Fitzroy, 2nd Duke of Grafton

      1703 · Oil On Canvas · National Portrait Gallery, London

      The subject is a young man positioned in a three-quarter length view against a dark, indistinct background. He wears a deep reddish-orange velvet jacket that catches the light, creating highlights on the folds of the fabric. A white, ruffled shirt is visible at the neck, providing a sharp tonal contrast to the darker tones of his attire. On his head, he wears a turban-like cap with voluminous folds. The lighting…

      Godfrey Kneller: lærreder fra 11 til 100 på ranglisten

      Anthony Leigh (1689) af Godfrey Kneller
      #11

      Anthony Leigh

      1689 · National Portrait Gallery

      A single figure emerges from a void of deep, atmospheric darkness. Anthony Leigh stands in the center of a vertical silence, draped in heavy, voluminous black garments that…

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      Sir John Vanbrugh (1707) af Godfrey Kneller
      #12

      Sir John Vanbrugh

      1707 · National Portrait Gallery

      The room falls away into a deep, indistinct darkness, leaving only the man to emerge from the gloom. He sits in a three-quarter view, his body angled with…

      Få det malet i hånden →
      Edward Southwell (1702) af Godfrey Kneller
      #14

      Edward Southwell

      1702

      A man emerges from a void of shadow. Edward Southwell meets the viewer with a steady, unblinking stare that pierces the darkness of the background. His hair, a…

      Få det malet i hånden →
      Arthur Maynwaring (1707) af Godfrey Kneller
      #19

      Arthur Maynwaring

      1707 · National Portrait Gallery

      The gaze of Arthur Maynwaring meets the viewer through this oil on canvas, a work captured by the hand of Sir Godfrey Kneller, Bt. around 1710. He appears…

      Få det malet i hånden →
      King George I (1716) af Godfrey Kneller
      #22

      King George I

      1716 · National Portrait Gallery

      This portrait depicts King George I, a figure associated with thirty different portraits. The work is a replica of a painting from 1714, executed by the artist Godfrey…

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      Hvad Godfrey Kneller har malet mest af

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

      Hvor Godfrey Kneller's lærreder hænger

      De 8 museer, der rummer flest af malerierne på denne side.

      Museum By Værker af Godfrey Kneller Malerier fra denne liste
      National Portrait Gallery, LondonNational Portrait Gallery London 73 William Russell, 1st Duke of Bedford, Thomas Wharton, 1st Marquess of Wharton, Richard Lumley, 2nd Earl of Scarbrough
      Hampton Court Palace, LondonHampton Court Palace London 10 Diana De Vere, Duchess of St. Albans (d.1742), Mary Scrope, later Mrs Pitt (b.1676), Carey Fraser, Countess of Peterborough (d.1709)
      Royal Collection, LondonRoyal Collection London 12 James II (1633-1701) when Duke of York, William, Duke of Gloucester (1689-1700), when a Child, Mary II (1662-1694)
      National Maritime Museum, LondonNational Maritime Museum London 23 Admiral Sir Thomas Allin, 1612-85, Samuel Pepys, 1633-1703, Admiral Edward Russell, 1652-1727, 1st Earl of Orford
      Felbrigg Hall, NorwichFelbrigg Hall Norwich 4 Possibly Colonel William Windham I, MP (1647-1689), Catherine Bower, Lady Ashe or Mrs Packer (c.1671 - 1717), Ashe Windham, MP (1673-1749)
      Hardwick HallHardwick Hall 9 Charles Boyle, 3rd Earl of Cork and 2nd Earl of Burlington (c.1662-1704), Rachel Russell, Duchess of Devonshire (1674 – 1725), Charles Boyle, 3rd Earl of Cork and 2nd Earl of Burlington (c.1662-1704)
      Scottish National Portrait Gallery, EdinburghScottish National Portrait Gallery Edinburgh 6 Sir George Mackenzie, 1636 - 1691. Founder of the Advocates Library, Sir George Mackenzie, 1636 - 1691. Founder of the Advocates Library, John Drummond, 1st Earl of Melfort, Secretary of State for Scotland and Jacobite
      Yale Center for British Art, New HavenYale Center for British Art New Haven 6 Self-Portrait, Portrait of a Woman as St. Agnes, Traditionally Identified as Catherine Voss

      Godfrey Knellers mest berømte lærred, årti efter årti

      1. 1660s
        Portrait of Johann Philipp Schönborn, elector of Mainz (1666) af Godfrey Kneller
        Lærred 18 af 100

        Portrait of Johann Philipp Schönborn, elector of Mainz

        Alder 14 – 23 · Kunsthistorisches Museum

        The Portrait of Johann Philipp Schönborn, elector of Mainz is an oil on canvas work created by the artist Godfrey Kneller. Painted in 1666, this portrait captures Johann…

      2. 1670s
      3. 1680s
        Portrait of Pyotr Potyomkin (1682) af Godfrey Kneller
        Rangeret som nr. 2 ud af 100

        Portrait of Pyotr Potyomkin

        Alder 34 – 43 · Hermitage Museum

        Sir Godfrey Kneller’s “Portrait of Pyotr Potyomkin” (1682) is more than just a likeness; it's a meticulously crafted tableau of power, ambition, and the carefully constructed image of…

      4. 1690s
        William Russell, 1st Duke of Bedford (1690) af Godfrey Kneller
        3 ud af 100

        William Russell, 1st Duke of Bedford

        Alder 44 – 53 · National Portrait Gallery

        A single figure occupies the center of the frame, anchored by the gravity of his own station. William Russell, 1st Duke of Bedford, is rendered in a moment…

      5. 1700s
        Isaac Newton (1702) af Godfrey Kneller
        Lærred 1 af 100

        Isaac Newton

        Alder 54 – 63

        This portrait of Isaac Newton was executed by Sir Godfrey Kneller, Bt. in 1702. The sitter, recognized as one of the greatest of all scientists and thinkers, is…

      6. 1710s
        Thomas Wharton, 1st Marquess of Wharton (1710) af Godfrey Kneller
        Rangeret som nr. 4 ud af 100

        Thomas Wharton, 1st Marquess of Wharton

        Alder 64 – 73 · National Portrait Gallery

        A single light source strikes from the upper left, carving the face of Thomas Wharton out of a deep, somber shadow. He sits in a three-quarter pose, his…

      Godfrey Knellers lærreder, spørgsmål for spørgsmål

      Hvilket lærred er Godfrey Kneller mest kendt for?Læs svaret

      Isaac Newton (1702), efterfulgt af Portrait of Pyotr Potyomkin (1682) og William Russell, 1st Duke of Bedford (1690).

      Isaac Newton: hvor gammel var Godfrey Kneller, da det blev malet?Læs svaret

      Godfrey Kneller, født i 1646, var 56 år gammel: Isaac Newton er fra 1702.

      Hvad er Godfrey Knellers ti mest berømte lærreder?Læs svaret

      Isaac Newton, Portrait of Pyotr Potyomkin, William Russell, 1st Duke of Bedford, Thomas Wharton, 1st Marquess of Wharton, Richard Lumley, 2nd Earl of Scarbrough, Queen Anne, Robert Harley, 1st Earl of Oxford, Sir Samuel Garth, Charles Townshend, 2nd Viscount Townshend og Charles Fitzroy, 2nd Duke of Grafton. Hvert lærred i den ovenstående rangliste er angivet med årstal og museum.

      Hvor mange malerier har Godfrey Kneller skabt?Læs svaret

      372 værker af Godfrey Kneller er i vores katalog, dateret fra 1666 til 1717.

      Hvor hænger Godfrey Knellers mest berømte lærreder i dag?Læs svaret

      Primært i National Portrait Gallery (London), Hampton Court Palace (London) og Royal Collection (London); listen ovenfor nævner hvert museum og dets lærreder.

      Hvornår malede Godfrey Kneller sine mest berømte lærreder?Læs svaret

      I 1690s, som udgør 38 af de 100 værker på denne side, herunder William Russell, 1st Duke of Bedford.

      Hvilket berømt lærred af Godfrey Kneller kom først, og hvilket kom sidst?Læs svaret

      Det tidligste lærred her er Portrait of Johann Philipp Schönborn, elector of Mainz (1666); det seneste er Richard Lumley, 2nd Earl of Scarbrough (1717).

      Hvilke motiver malede Godfrey Kneller mest?Læs svaret

      Man (19), Wig (9) og Dark background (8), fordelt på de 100 værker på denne side.

      Hvilket medie optræder hyppigst i Godfrey Kneller's malerier?Læs svaret

      Oil On Canvas, anvendt i 19 af de 100 værker på denne side.

      Hvilken stilart er Godfrey Kneller associeret med?Læs svaret

      Baroque style, som lærrederne på denne side viser.

      Hvilke malerier af Godfrey Kneller er i National Portrait Gallerys samling?Læs svaret

      National Portrait Gallery, London har 24 af værkerne på denne side, herunder William Russell, 1st Duke of Bedford, Thomas Wharton, 1st Marquess of Wharton og Richard Lumley, 2nd Earl of Scarbrough.

      Hvor kan jeg købe en reproduktion af et maleri af Godfrey Kneller?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.

      Mød maleren: Godfrey Kneller

      Sir Godfrey Kneller: Mesteren af Manieren

      Godfrey Kneller (1646-1723) står som en monumentalt skikkelse i engelsk barokkunst, primært anerkendt for sin uovertrufne evne til at fange portrætter af fremtrædende personer – især det, der kom til at blive kendt som "Kit-Cat portrætter". Disse yderst detaljerede skildringer af katte, der pryder aristokratiske interiører, eksemplificerer hans omhyggelige teknik og dybe forståelse for visuel kultur. Født Gottfried Kniller i Lübeck, Tyskland, emigrerede han til England omkring 1675 og etablerede sig som en produktiv portrætmaler, der sikrede sig prestigefyldte opdragelser fra kongelige og adelige gennem hele regeringstiden for Charles II og George I. Hans arv strækker sig ud over blot kunstnerisk bedrift; han spillede en afgørende rolle i at forme det visuelle landskab i georgianske England og fremmede en vedvarende fascination af kongeligt mæcenat.
      • Tidlig Liv & Træning: Knellers formative år blev tilbragt med studier hos Johann Zacharias Kneller, hans bror, som indprentede i ham en stringent tilgang til tegning og maleri – et hjørnesten i hans kunstneriske filosofi. Denne disciplinerede træning skærpede hans observationsevner og forberedte ham på kravene ved at skabe portrætter, der ikke blot formidlede det fysiske udseende, men også den psykologiske karakter.
      • Kit-Cat Portræt Fænomenet: Knellers berømmelse eksploderede takket være hans innovative "Kit-Cat portrætter". Disse lærreder fremstillede katte omhyggeligt malet sammen med deres aristokratiske ejere, hvilket afspejlede en spirende tendens inden for dekorativ kunst og signalerede et skift mod at portrættere motiver i deres hjemlige omgivelser. Symbolikken indlejret i disse portrætter – der repræsenterer rigdom, status og intellektuelle bestræbelser – demonstrerer Knellers skarpe bevidsthed om samtidens sociale konventioner.
      • Kongeligt Mæcenat & Kunstnerisk Udvikling: Knellers karriere blomstrede under mæcenatet fra Charles II og George I, hvor han sikrede sig opdragelser, der tillod ham at finpudse sin stil og udforske ambitiøse projekter. Han blev hofmaler for begge monarker og producerede portrætter af konger, dronninger, prinser og diplomater – værker, der cementerede hans ry som en af Englands førende kunstnere. Hans omhyggelige opmærksomhed på detaljer og mesterlige brug af chiaroscuro (det dramatiske samspil mellem lys og skygge) eksemplificerer storheden i Grand Manner-stilen, der var udbredt i hans æra.
      • Bemærkelsesværdige Værker & Arv: Blandt Knellers mest fejrede bedrifter er portrætter af Charles II, Henry Purcell, Christopher Wren, Isaac Newton og Benjamin Franklin – hver især fanger motiver med bemærkelsesværdig nøjagtighed og formidler deres personligheder med følsomhed. Hans indflydelse strakte sig ud over portrætmaleriet; han tjente som direktør for Royal Military School of Music i Twickenham i årtier, hvilket fremmede kunstnerisk talent og bidrog til den kulturelle vitalitet i georgianske London.
      • Et Varigt Indtryk: Knellers omhyggelige teknik og stilistiske innovationer fortsætter med at inspirere kunstnere i dag. Han forbliver et symbol på kunstnerisk fremragende og eksemplificerer portrættets vedvarende kraft som et medium til at dokumentere historie og fange essensen af det menneskelige væsen. Hans værker findes på store museer verden over, hvilket sikrer, at hans bidrag til engelsk barokkunst vil blive husket i generationer fremover.

      Indflydelser & Kunstnerisk Stil

      Knellers kunstneriske vision blev dybt formet af traditionerne fra flamsk og italiensk barokmaleri – især Rembrandt van Rijn og Caravaggio – hvis dramatiske brug af lys og skygge etablerede en præcedens for at skildre følelser og psykologisk kompleksitet. Han omfavnede Grand Manner-stilen, karakteriseret ved monumental skala, idealiserede figurer og omhyggeligt orkestrerede kompositioner designet til at formidle værdighed og autoritet. Denne stilistiske tilgang afspejlede aspirationerne fra det engelske monarki i hans tid og cementerede Knellers position som en forkæmper for kunstnerisk innovation.

      Kneller Hall & Dens Betydning

      Huset, Kneller byggede i Whitton nær Twickenham, blev beboet af Kneller Hall i midten af det 19. århundrede – et vidnesbyrd om hans vedvarende indflydelse på britisk samfund og kultur. Denne storslåede herregård tjente som hjem for Royal Military School of Music, hvilket symboliserede Knellers engagement i kunstnerisk uddannelse og fremmede en tradition for musikalsk excellence. Selve hallen står som et arkitektonisk vartegn, der afspejler storheden fra georgianske England og indkapsler de værdier, som Kneller kæmpede for – disciplin, raffinement og intellektuel nysgerrighed.

      Yderligere Udforskning

      For dybere indsigt i Godfrey Knellers liv og arbejde, henvis til ressourcer som:

      Alle 372 værker af Godfrey Kneller →