Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum (1761)은(는) Conrad Kuster의 가장 대표적인 작품으로, 암스테르담에 위치한 국립 미술관에 소장되어 있습니다. Conrad Kuster의 작품 2점이 등록되어 있습니다. 그중 가장 유명한 2점의 작품을 연도, 소장 미술관, 그리고 각 작품에 담긴 이야기와 함께 만나보세요.
각 작품의 검색, 방문 및 주문 수를 결합한 인기 점수를 기준으로 순위를 매깁니다. 11월 2026 업데이트됨. 이 페이지의 모든 작품은 린넨 캔버스에 수작업으로 제작된 유화 복제화 또는 원하는 크기로 제작 가능한 파인 아트 프린트로 주문하실 수 있습니다.
This oil on canvas work is the Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum. Painted in 1761, the portrait captures the likeness of Diederik van Bleyswijk (1711-63). The sitter's formal titles are reflected in the dignified manner in which he is presented to the viewer.
The oil on canvas work titled Portrait of Cornelia van Schuylenburgh, Wife of Diederik van Bleyswijk was executed by the artist Conrad Kuster in 1761. This portrait depicts Cornelia van Schuylenburgh, who lived from 1703 to 1784. She is identified in the title as the wife of Diederik van Bleyswijk.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 1개의 미술관
| 소장 미술관 | 도시 | Conrad Kuster의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 국립 미술관 |
암스테르담 | 2 | Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum, Portrait of Cornelia van Schuylenburgh, Wife of Diederik van Bleyswijk |
이 페이지에 있는 Conrad Kuster의 시대별 캔버스 작품은 모두 1761년의 작품들입니다. 명성에 따라 순서대로 나열하였습니다.
This oil on canvas work is the Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum. Painted in 1761, the portrait…
The oil on canvas work titled Portrait of Cornelia van Schuylenburgh, Wife of Diederik van Bleyswijk was executed by the artist Conrad Kuster in 1761. This portrait depicts…
Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum (1761)
1730년에 태어난 Conrad Kuster은(는) 31세였으며, Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum은(는) 1761년의 작품입니다.
Conrad Kuster의 작품 2점이 카탈로그에 있습니다.
대부분 국립 미술관 (암스테르담)에 소장되어 있습니다. 위 목록은 각 미술관과 해당 미술관의 작품 목록을 나타냅니다.
이 페이지의 총 2점의 작품 중 2점이 1761에 제작되었으며, 그중 Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum입니다.
이 페이지의 총 2점의 작품 중 2점에 Oil On Canvas이(가) 사용되었습니다.
국립 미술관, 암스테르담은 이 페이지에 있는 작품 중 2점을 소장하고 있으며, 그중에는 Portrait of Diederik van Bleyswijk, Baron of Eethen and Meeuwen, Lord of Babyloniënbroek, Burgomaster of Gorkum 및 Portrait of Cornelia van Schuylenburgh, Wife of Diederik van Bleyswijk이(가) 포함되어 있습니다.
네, 이 페이지에 있는 모든 작품은 각 작품의 상세 페이지에서 원하시는 크기의 수작업 유화 복제화 또는 파인 아트 프린트로 주문하실 수 있습니다.
Conrad Kuster remains a figure defined by the specificities of his era and his geographic origins. Born in 1730, this German artist operated during a period of distinct European artistic shifts. His presence in the historical record is marked by a directness that avoids the fluff of later romanticism. He lived until 1802, leaving behind a body of work that reflects the technical standards of his time.
His output is not a matter of myth but of documented existence. The Rijksmuseum holds works attributed to him, placing his legacy within the context of significant European collections. This connection to established institutions provides the only concrete metric for his historical weight. He was a practitioner of his craft, focused on the visual realities of the eighteenth century.
To look at the work of Kuster is to see the discipline of a trained hand. His involvement in the art world is evidenced by auction records and museum catalogs. These records show a focus on specific subject matter, such as the Rastende Jagdgesellschaft. Such works demonstrate a commitment to the formal requirements of his period. He did not rely on abstraction; he relied on the execution of the scene at hand.
The survival of his name in various archives suggests a professional consistency. His life spanned the mid-to-late eighteenth century, a time when the precision of German art was being codified. He functioned within this system, contributing to the visual language of his age without the need for modern embellishment. His significance is found in the tangible presence of his paintings in the hands of collectors and museums.
