Portrait of an Old Man (1638)はSamuel Hoffmannの代表作として知られる作品であり、アムステルダムにある国立美術館に収蔵されています。 Dead game and four figures (1612)とThe Countess of Mansfeldt (1628)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。 Samuel Hoffmann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 work before us is titled Portrait of an Old Man, a significant oil on canvas painted by the artist Samuel Hoffmann. Created in 1638, this portrait captures a moment of quiet dignity. The subject is an elderly man, though his specific identity remains a matter of scholarly discussion. While he is often categorized as an unknown sitter, some observations suggest he may be Arend Jacobsz van der Graeff.
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 6 の美術館
| 美術館 | 都市 | Samuel Hoffmannの作品 | このリストの絵画 |
|---|---|---|---|
 Statens Museum For Kunst |
コペンハーゲン | 3 | The Countess of Mansfeldt, The Count of Mansfeldt, Portrait of a Man |
 ワルシャワ国立博物館 |
ワルシャワ | 2 | Portrait of a woman aged 69, Portrait of a man aged 70. |
 国立美術館 |
アムステルダム | 1 | Portrait of an Old Man |
 Museum Mayer van den Bergh |
アントワープ | 1 | Dead game and four figures |
 シュテデル美術館 |
フランクフルト | 1 | Portrait of a Woman |
 サンフランシスコ美術館 |
サンフランシスコ | 1 | Interior of a Kitchen |
The work before us is titled Portrait of an Old Man, a significant oil on canvas painted by the artist Samuel Hoffmann. Created in 1638, this portrait captures…
Portrait of an Old Man (1638)（国立美術館, アムステルダム）。続いてDead game and four figures (1612)、The Countess of Mansfeldt (1628)が続きます。
1595年に生まれたSamuel Hoffmannは43歳でした：Portrait of an Old Manは1638年の作品です。
Portrait of an Old Man, Dead game and four figures, The Countess of Mansfeldt, The Count of Mansfeldt, Portrait of a Woman, Portrait of a woman aged 69, Portrait of a man aged 70., Still life of fruits and vegetables, Portrait of a Man と Interior of a Kitchen。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。
Samuel Hoffmannによる作品が10点、1612年から1638年にかけてのものがカタログに掲載されています。
主にStatens Museum For Kunst (コペンハーゲン), ワルシャワ国立博物館 (ワルシャワ) と 国立美術館 (アムステルダム)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、4作品が1630sの作品であり、その中にはPortrait of an Old Manが含まれます。
ここにある最も古いキャンバスはDead game and four figures (1612)、最も新しいものはPortrait of an Old Man (1638)です。
Statens Museum For Kunst, コペンハーゲンには、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The Countess of Mansfeldt, The Count of Mansfeldt と Portrait of a Man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 grand tapestry of twentieth-century soundscapes, few figures possess a legacy as hauntingly beautiful and technically singular as Samuel J. Hoffman. While history often remembers him through the lens of cinematic tension, his life was a profound intersection of classical discipline and avant-garde innovation. Born in New York City in 1903, Hoffman’s journey began not with the electronic whispers of the theremin, but with the disciplined strings of the violin. A prodigy who began performing professionally at the tender age of fourteen, he navigated the vibrant jazz and swing scenes of New York under the moniker Hal Hope, leading orchestras that defined the rhythmic pulse of an era.
The turning point in Hoffman’s artistic evolution arrived through a serendipitous encounter with debt. In the early 19 and 30s, he acquired a 1929 RCA theremin—an instrument played without physical contact, manipulating electromagnetic fields through the movement of hands in the air. This acquisition transformed him from a traditional instrumentalist into a pioneer of electronic music. He seamlessly integrated this otherworldly sound into his swing ensembles, eventually forming the Hal Hope’s Electronic Trio. This experimental fusion of the Hammond organ, electric cello, and the ethereal theremin pushed the boundaries of what audiences believed musical instruments could achieve, blending the tangible with the intangible.
The true historical significance of Hoffman’s work crystallized within the golden age of Hollywood. His unique ability to read music—a rarity among thereminists of the time—made him an indispensable asset to the great composers of the silver screen. When composer Miklos Rozsa sought to infuse Alfred Hitchcock’s Spellbound (1945) with a sense of psychological instability, Hoffman was the only choice. The resulting score, which earned an Academy Award nomination, utilized the theremin's wavering pitch to mirror the fractured psyche of the film's protagonists. This mastery of atmosphere established a sonic blueprint for the horror and noir genres.
Throughout the late 1940s, Hoffman’s haunting melodies became the heartbeat of cinematic suspense. His contributions to films such as The Spiral Staircase and The Red House utilized the instrument's ability to evoke dread, longing, and the supernatural. Yet, his talent was not confined to the shadows of film noir; he also demonstrated a remarkable versatility by performing in lighter, more melodic contexts, such as the Bing Crosby and Bob Hope comedy Road to Rio. This duality—the ability to move between the terrifying and the whimsical—remains a testament to his profound musical intelligence.
Beyond the recording studios and film sets, Hoffman lived a life of fascinating dualities. In a remarkable feat of professional balance, he became a practicing podiatrist, relocating to Los Angeles in 1941. This unique juxtaposition of medical precision and musical abstraction led many to refer to him affectionately as "Doctor" Hoffman. Even while tending to his medical practice, he remained a vital force in the music industry, collaborating on landmark recordings like Music Out of the Moon, which stands as one of the most successful theremin albums ever released.
The legacy of Samuel Hoffman is not merely found in the notes he played, but in the way he expanded the emotional vocabulary of modern music. He bridged the gap between the classical tradition and the electronic future, proving that an instrument played by the mere movement of air could carry the weight of human emotion. His work remains a cornerstone of cinematic history, reminding us that the most profound art often emerges from the unexpected meeting of science, soul, and sound.
