Portrait of an old woman (1651)はMonogrammist ISの代表作として知られる作品であり、ウィーンにある美術史美術館に収蔵されています。 Portrait of a Man (1621)とA young scholar (1633)が加わり、最も愛されている3枚のキャンバスが揃いました。 Monogrammist ISによる作品は、当カタログに10点収められています。ここでは、制作年、所蔵美術館、そして各作品の背景とともに、最も有名な10点をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026 このページに掲載されている各作品は、リネンキャンバスに手描きで制作する油彩複製画、またはご希望のサイズに合わせて作成するファインアートプリントとしてご注文いただけます。
The portrait presents a bust-length view of an elderly woman, positioned in a three-quarter profile facing toward the left. Her head is wrapped in a coarse, light-colored headscarf that contrasts with the dark, indeterminate background. A fur collar rests against her shoulders, its texture rendered with soft, organic strokes. The subject's skin is marked by a network of fine lines and deep creases, particularly around the eyes and mouth, documenting…
このページに掲載されている絵画を最も多く所蔵している 8 の美術館
| 美術館 | 都市 | Monogrammist ISの作品 | このリストの絵画 |
|---|---|---|---|
 国立美術館 |
ストックホルム | 3 | Portrait of an Old Lady, Old Man with a Growth on his Nose, Old Woman, possibly an Abbess, Reading a Letter |
 美術史美術館 |
ウィーン | 1 | Portrait of an old woman |
 メトロポリタン美術館 |
ニューヨーク | 1 | Portrait of a Man |
 バイエルン州立絵画コレクション |
ミュンヘン | 1 | A young scholar |
 National Gallery of Ireland |
ダブリン | 1 | A Dutch Kitchen Interior |
 Museum Catharijneconvent |
ユトレヒト | 1 | Baptism of the Eunuch |
 ヘルツォーク・アントン・ウルリヒ美術館 |
ブラウンシュヴァイク | 1 | Old Man Beside a Table with Books |
 Museum Kunstpalast |
デュッセルドルフ | 1 | Portrait of a scholar in oriental dress |
The portrait presents a bust-length view of an elderly woman, positioned in a three-quarter profile facing toward the left. Her head is wrapped in a coarse, light-colored headscarf…
Portrait of an old woman (1651)（美術史美術館, ウィーン）。続いてPortrait of a Man (1621)、A young scholar (1633)が続きます。
Portrait of an old woman, Portrait of a Man, A young scholar, A Dutch Kitchen Interior, Baptism of the Eunuch, Portrait of an Old Lady, Old Man with a Growth on his Nose, Old Man Beside a Table with Books, Portrait of a scholar in oriental dress と Old Woman, possibly an Abbess, Reading a Letter。上記のランキングに掲載されている各キャンバスには、制作年と所蔵美術館が記載されています。
Monogrammist ISによる作品が10点、1621年から1658年にかけてのものがカタログに掲載されています。
主に国立美術館 (ストックホルム), 美術史美術館 (ウィーン) と メトロポリタン美術館 (ニューヨーク)に所蔵されています。上記のリストには、各美術館とその所蔵作品が記載されています。
このページに掲載されている全10作品のうち、6作品が1640sの作品であり、その中にはA Dutch Kitchen Interiorが含まれます。
ここにある最も古いキャンバスはPortrait of a Man (1621)、最も新しいものはOld Woman, possibly an Abbess, Reading a Letter (1658)です。
国立美術館, ストックホルムには、このページに掲載されている作品のうち3点が所蔵されており、その中にはPortrait of an Old Lady, Old Man with a Growth on his Nose と Old Woman, possibly an Abbess, Reading a Letterも含まれています。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、手書きの油彩複製画、またはお好みのサイズでのファインアートプリントとしてご注文いただけます。
In the quiet corners of the seventeenth century, a hand moved across canvas with such precision that it left behind only two letters: I.S. This elusive painter, known to history only by this small mark, lived through an era of profound change in the Netherlands. While the name of the person behind the brush remains lost to time, their presence is felt in every stroke of oil and every carefully rendered face. Some scholars suggest a Dutch origin, while others whisper of German or Baltic roots, yet there is no doubt that this artist found a home in Leiden during the 1630s.
The identity of this creator was first brought to light in 1904, when a collection of works bearing the same monogram were recognized as the output of a single, skilled hand. It is a curious thing to study an artist whose very existence is a puzzle. We see their work, we feel the weight of their subjects, but we cannot look them in the eye. They worked within the orbit of great names, perhaps even walking the same streets as Rembrandt, yet they chose—or were destined—to remain a mystery.
The work of Monogrammist IS does not seek the grand or the theatrical. Instead, it finds its strength in the quiet observation of a single soul. The artist specialized in tronies—those expressive head studies that capture a specific character or emotion—and honest portraits. There is a scientific realism in these paintings, a way of looking at a wrinkle, a growth on a nose, or the weathered skin of an elderly woman with an unblinking eye. Each figure is presented with a refined and articulated brushwork that suggests a deep respect for the physical world.
In these compositions, one finds a fascination with the textures of life. The paint often appears liquid and rich, flowing over the features of the subjects to create a sense of tangible reality. Whether depicting a man with a peculiar ailment or the solemn face of an aged woman, the artist avoids any attempt to beautify the subject beyond its natural state. This commitment to truth brings a certain gravity to the work. The figures do not perform for us; they simply exist within the frame.
Though the artist's personal life remains obscured, their influence traveled far beyond the borders of Leiden. There are traces of a wider path, with suggestions that they may have moved through Scandinavia or even Eastern Europe. This movement is reflected in the way their works found their way into the hands of great collectors, from the Swedish nobility to the Hapsburg governors in Flanders. The provenance of these paintings tells a story of prestige and enduring interest that the artist's own biography cannot.
Today, the pieces attributed to this monogrammed hand reside in significant collections, such as the Kunsthistorisches Museum in Vienna and the Nationalmuseum in Stockholm. These works continue to invite scrutiny and wonder. Even as historians debate whether the painter was a contemporary of Rembrandt or a student of the Leiden Fijnschilder tradition, the art itself remains the primary voice. The mystery of the person only serves to focus our attention on the remarkable skill found within those two simple letters.
