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Portræt af Jan Rustem

De top 15 Jan Rustem malerier, rangeret efter berømmelse

Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 15 værker af Jan Rustem i vores katalog

Hurtigt svar

Diana resting (1790) er Jan Rustems mest kendte maleri; originalen tilhører Nationalmuseet i Warszawa, Warszawa. Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) ligger som nummer to, Portrait of Anna of Puczyńskis (1807) som nummer tre. Vores katalog indeholder 15 værker af Jan Rustem; her er de 15 mest berømte, rangeret med årstal og museum for hvert værk, så du kan vælge det rette at bestille.

1762 – 1835, Istanbul Flest værker: Nationalmuseet i Warszawa

Jan Rustem: de 10 bedst rangerede malerier

1
Diana resting (1790) af Jan Rustem

Diana resting

1790 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

In Jan Rustem's "Diana resting," the scene unfolds across a horizontal and balanced landscape that invites the eye to wander through a moment of quietude. At the heart of this arrangement, a reclining nude female figure rests, her form bathed in a gentle, luminous light that seems to emanate from the upper left. This soft glow traces the curves of her skin and highlights the smoothness of her limbs against…

Håndmalet oliereproduktion fra $245 47 × 21 cm Samme størrelse som originalen $553 160 × 72 cm Bestil i original størrelse →
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2
Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) af Jan Rustem

Portrait of Karolina Kublicka née Sołtan(ca. 1780–?)

1805 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

In this classical oil portrait, Jan Rustem presents the Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), a bust-length study of a young woman. The composition is intimate, utilizing a close-up perspective that brings the viewer into the subject's immediate presence. She is positioned slightly off-center, her head turned in a three-quarter view toward the left of the frame. This subtle positioning creates a sense of quietude, as if we have…

Håndmalet oliereproduktion fra $170 30 × 34 cm Samme størrelse som originalen $178 34 × 38 cm Bestil i original størrelse →
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3
Portrait of Anna of Puczyńskis (1807) af Jan Rustem

Portrait of Anna of Puczyńskis

1807 · Oil On Panel · Nationalmuseet i Warszawa, Warszawa

In the Portrait of Anna of Puczyńskis by Jan Rustem, a woman is captured in a bust-length study, her form positioned slightly off-center against a void of deep browns. She turns her gaze toward the viewer, her eyes holding a subtle, enigmatic expression that remains fixed and quiet. Dark, wavy hair frames a face of pale ochre and creamy whites, catching a soft light that defines the contours of her…

Håndmalet oliereproduktion fra $170 29 × 35 cm
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4
Portrait of Joseph Saunders (1733–1845) (1810) af Jan Rustem

Portrait of Joseph Saunders (1733–1845)

1810 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

In this 1810 oil portrait, we encounter Joseph Saunders, a man whose presence is felt through a quiet, dignified composure. The composition is a bust-length study, positioning the subject slightly off-center as he gazes toward the right of the frame. There is a certain stillness here, a moment captured in the soft, directional light that enters from the upper left. This illumination carves out the volume of his face, casting…

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5
Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska. (1808) af Jan Rustem

Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska.

1808 · Oil · Nationalmuseet i Warszawa, Warszawa

The air on this paved terrace feels still, caught in the soft, luminous glow of a twilight sky. Two women and a small child occupy this space, framed by the heavy, silent presence of large architectural columns. On the left, a woman stands with a graceful, fluid movement, her white gown catching the light with a silky sheen. She holds a shallow dish aloft, an action that feels part of…

Håndmalet oliereproduktion fra $220 28 × 35 cm Samme størrelse som originalen $768 125 × 159 cm Bestil i original størrelse →
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6
Portrait of Aniela Nowicka née Popławska (1807) af Jan Rustem

Portrait of Aniela Nowicka née Popławska

1807 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

The light enters from the upper left, brushing against the soft contours of Aniela Nowicka’s face with a gentle, directional touch. She sits in a three-quarter view, her gaze meeting the viewer with a calm that feels both poised and deeply private. There is a stillness here, a moment frozen in the early 19th century, where the deep, muted olive green of her drapery melts into a dark, nearly black…

Håndmalet oliereproduktion fra $170 28 × 36 cm Samme størrelse som originalen $220 47 × 58 cm Bestil i original størrelse →
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7
Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev (1807) af Jan Rustem

Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev

1807 · Oil On Canvas · Nationalmuseet i Warszawa, Warszawa

In this 1807 oil on canvas, we encounter a young woman captured in a moment of quietude. She is positioned slightly off-center, her gaze directed toward the left of the frame, creating a sense of introspective stillness. The composition is a bust-length portrait, where the soft, somewhat weathered texture of the paint suggests the passage of time. Her dark, curly hair provides a sharp textural contrast to the smooth, porcelain-like…

Håndmalet oliereproduktion fra $170 29 × 34 cm Samme størrelse som originalen $236 52 × 62 cm Bestil i original størrelse →
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8
Self-portrait of Jonas Rustemas (1815) af Jan Rustem

Self-portrait of Jonas Rustemas

1815 · Oil On Canvas · Lithuanian National Museum of Art, Vilnius

In this close-up bust portrait, titled Self-portrait of Jonas Rustemas, the artist Jan Rustem presents himself as a middle-aged man. The subject is positioned slightly off-center, creating a subtle tension within the frame. He looks directly toward the viewer with a piercing, somewhat stern expression that demands immediate attention. This direct gaze establishes an intimate connection between the subject and the observer, stripping away any sense of artifice.

Håndmalet oliereproduktion fra $170 28 × 36 cm
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9
Portrait of Edward Jan Römer (1806–1878) (1824) af Jan Rustem

Portrait of Edward Jan Römer (1806–1878)

1824 · Oil · Nationalmuseet i Warszawa, Warszawa

In this intimate oil portrait, we find ourselves in the presence of a young man, Edward Jan Römer, captured during a period of profound transition in his life. The composition is a close-up bust portrait, positioning the subject slightly off-center as he gazes toward the left of the frame. There is a certain stillness here, a moment of contemplation frozen in time. The lighting, descending softly from the upper left,…

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Jan Rustem, rangeret fra 11 til 15

Jan Rustem malerier efter motiv

De fire mest hyppige motiver i denne rangliste, med det øverste maleri for hvert.

Museer der udstiller Jan Rustems originalværker

De 2 museer, der rummer flest af malerierne på denne side.

Museum By Værker af Jan Rustem Malerier fra denne liste
Nationalmuseet i Warszawa, WarszawaNationalmuseet i Warszawa Warszawa 13 Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), Portrait of Anna of Puczyńskis
Lithuanian National Museum of Art, VilniusLithuanian National Museum of Art Vilnius 2 Self-portrait of Jonas Rustemas, Portrait of Professor Josef Frank (1771–1842). Ca. 1819

Top Jan Rustem maleri efter årti

Værker per årti

Vælg et årti for at se dets mest populære maleri.

Hvad du skal vide om Jan Rustem malerier

Hvilket berømt maleri af Jan Rustem topper ranglisten?Vis svar

Diana resting (1790), Nationalmuseet i Warszawa, Warszawa, rangerer som nummer ét, efterfulgt af Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) (1805) og Portrait of Anna of Puczyńskis (1807).

Hvor gammel var Jan Rustem i året for Diana resting?Vis svar

Jan Rustem var 28 år gammel: Diana resting er dateret 1790, og Jan Rustem blev født i 1762.

Hvilke Jan Rustem malerier er med på top 10?Vis svar

Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?), Portrait of Anna of Puczyńskis, Portrait of Joseph Saunders (1733–1845), Portrait of Maria Mirska, Adam Napoleon Mirski and Barbara Szumska., Portrait of Aniela Nowicka née Popławska, Portrait of Wiktoria née Potocka 1.v. Choiseul Gouffier 2.v. wife of general Bakhmatiev, Self-portrait of Jonas Rustemas, Portrait of Edward Jan Römer (1806–1878) og Male portrait. Årstal og museum for hver enkelt findes i ranglisten ovenfor.

Hvor mange værker af Jan Rustem er der i din katalogliste?Vis svar

15 værker af Jan Rustem er i vores katalog, dateret fra 1790 til 1824.

Hvor kan de originale værker af Jan Rustems berømte malerier ses?Vis svar

Primært i Nationalmuseet i Warszawa (Warszawa) og Lithuanian National Museum of Art (Vilnius). Se museomtabelen ovenfor for den fulde liste.

I hvilke år malede Jan Rustem de bedst rangerede værker?Vis svar

I 1800s: 5 af de 15 malerier, der er rangeret her, stammer fra den tid, herunder Portrait of Karolina Kublicka née Sołtan(ca. 1780–?).

Hvilke berømte Jan Rustem malerier er de tidligste og de seneste?Vis svar

Ældste på denne side: Diana resting (1790). Nyeste: Portrait of Edward Jan Römer (1806–1878) (1824).

Hvad er Jan Rustem's mest hyppige motiver?Vis svar

Blandt de 15 malerier, der er rangeret her: Woman (6), Portrait (6) og Man (4).

Hvilket medie brugte Jan Rustem oftest?Vis svar

Oil On Canvas, for 6 af de 15 malerier, der er rangeret her.

Hvilke malerier af Jan Rustem er i Nationalmuseet i Warszawas samling?Vis svar

Nationalmuseet i Warszawa, Warszawa har 13 af de malerier, der er rangeret her, herunder Diana resting, Portrait of Karolina Kublicka née Sołtan(ca. 1780–?) og Portrait of Anna of Puczyńskis.

Sælger I reproduktioner af Jan Rustems malerier?Vis svar

Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion eller som et print. Åbn maleriet, vælg størrelsen og afgiv din bestilling.

Jan Rustem: liv og karriere

A Life Bridging Cultures: The Story of Jonas Rustemas

Jonas Rustemas, a name often echoed alongside his Polish alias Jan Rustem, occupies a fascinating, yet somewhat elusive position in the annals of 18th and 19th-century European art. Born in Constantinople in 1762, his life was one of remarkable transition and cultural synthesis. Orphaned at a young age, his trajectory took an unexpected turn when he was sponsored by Adam Kazimierz Czartoryski, a prominent figure of the Polish aristocracy and a dedicated patron of the arts. This act of generosity propelled the young Armenian boy westward, towards the heart of the Polish-Lithuanian Commonwealth around 1774, forever altering the course of his artistic development.

Rustemas’s formative years were spent immersed in the vibrant artistic milieu of Warsaw. He received tutelage from two of the most celebrated painters working within the royal court: Jean-Pierre Norblin de la Gourdaine, renowned for his delicate genre scenes and masterful draftsmanship, and Marcello Bacciarelli, a portraitist whose skill lay in capturing the essence of aristocratic society. These influences are readily apparent in Rustemas’s early works – a refined attention to detail, a sensitivity to light and shadow, and an ability to portray both psychological depth and social standing within his subjects. He wasn't merely absorbing technique; he was learning to navigate the complex world of patronage, courtly aesthetics, and the subtle language of visual representation.

From Warsaw to Vilnius: A Freemason’s Journey

The late 1780s saw Rustemas embark on a period of travel that broadened his intellectual and artistic horizons. Between 1788 and 1790, he ventured into Germany, where he became initiated into the world of Freemasonry. This affiliation proved significant, shaping not only his worldview but also potentially influencing the symbolism embedded within his later paintings. The tenets of Enlightenment thought – reason, liberty, and fraternity – resonated deeply with Rustemas, and these ideals would subtly permeate his artistic practice. Upon returning to the Polish-Lithuanian Commonwealth in 1790, he settled for a time in Warsaw before ultimately relocating to Vilnius.

Vilnius became the central stage of Rustemas’s career. In 1797, he began a long and fruitful association with Vilnius University, initially as an artist-in-residence and eventually ascending to the position of Professor of Painting in 1819. This appointment marked a turning point, solidifying his reputation as a leading figure in Lithuanian art education. He established a rigorous curriculum, emphasizing both technical proficiency and intellectual engagement. Rustemas wasn’t simply imparting skills; he was fostering a new generation of artists capable of contributing to the cultural landscape of the region.

A Legacy Etched in Canvas: Students and Style

Rustemas's impact extended far beyond his own artistic output, largely through the remarkable students he mentored. Among them were names that would become synonymous with Lithuanian national identity: Taras Shevchenko, the iconic Ukrainian poet and artist; Józef Oleszkiewicz, a celebrated landscape painter; Kanuty Rusiecki, known for his historical canvases; and Michał Kulesza, another prominent figure in 19th-century Lithuanian art. He instilled in them not only technical mastery but also a sense of national pride and artistic purpose.

While Rustemas continued to paint throughout his life, retiring formally in 1826 though continuing to lecture until his death near Dūkštas in Lithuania in 1835, his style evolved. His portraits, while retaining the elegance inherited from Bacciarelli, gained a greater psychological intensity and emotional depth. He also explored historical subjects, often imbued with subtle allegorical meaning. Though not widely known outside of Eastern Europe during his lifetime, Rustemas’s work represents a unique fusion of artistic traditions – Armenian sensitivity, Polish refinement, and Lithuanian national consciousness.

Historical Significance: A Bridge Between Worlds

Jonas Rustemas stands as a compelling example of an artist whose life mirrored the turbulent political and cultural landscape of his time. He navigated shifting allegiances, embraced Enlightenment ideals, and dedicated himself to fostering artistic talent within a region undergoing profound change. His legacy is not merely confined to the canvases he produced but resides in the generations of artists he inspired. He was a bridge between worlds, seamlessly blending diverse influences into a distinctive artistic voice that continues to resonate today. His story serves as a poignant reminder of the power of art to transcend boundaries and shape national identities.