Bijgewerkt in oktober 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 21 werken van Georg David Matthieu in onze catalogus
Snel antwoord
Het belangrijkste schilderij van Georg David Matthieu is Portrait of Charlotte of Mecklenburg-Strelitz (1762), waarvan het origineel in het National Portrait Gallery of Sweden in Strängnäs staat. Op de tweede en derde plaats: Joachim Ulrich Giese (1762) en Portrait of a man in armour. Onze catalogus bevat 21 werken van Georg David Matthieu. De 19 hier vermelde werken zijn de bekendste, in volgorde van rangschikking, inclusief het jaar en het museum van elk origineel.
To gaze upon this portrait of Joachim Ulrich Giese is to step directly into the gilded salons of 18th-century Berlin. Painted in 1762 by Georg David Matthieu, the work transcends a mere likeness; it is a carefully constructed tableau of intellectual refinement and aristocratic grace. The very air surrounding the subject seems imbued with the delicate exuberance characteristic of the Rococo period. Everything about the composition whispers of an era…
Georg David Matthieu’s “The Wife of Joachim Ulrich Giese,” painted in 1762, is more than just a portrait; it's a meticulously crafted tableau of Rococo elegance and subtle psychological depth. Created during the height of Matthieu’s career – a period marked by his association with influential figures like Jakob Philipp Hackert and his service as court painter for the Duke of Mecklenburg – this work offers a captivating glimpse into…
De vier meest voorkomende onderwerpen in deze ranglijst, met het topstuk per onderwerp.
De 3 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Georg David Matthieu | Schilderijen uit deze lijst |
|---|---|---|---|
 Staatliche Museen zu Berlin |
Berlijn | 2 | Joachim Ulrich Giese, The Wife of Joachim Ulrich Giese |
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Portrait of Charlotte of Mecklenburg-Strelitz |
 Nationaal Museum in Warschau |
Warschau | 1 | Portrait of a man in armour |
1762: elk gedateerd schilderij van Georg David Matthieu op deze pagina komt uit dat jaar. Hier zijn ze, op volgorde van rangschikking.
Selecteer een jaar om de bijbehorende schilderijen te bekijken.
Andere schilderijen uit 1762
Portrait of Charlotte of Mecklenburg-Strelitz (1762), National Portrait Gallery of Sweden, Strängnäs, staat op de eerste plaats, gevolgd door Joachim Ulrich Giese (1762) en Portrait of a man in armour.
Georg David Matthieu was 25 jaar oud: Portrait of Charlotte of Mecklenburg-Strelitz dateert uit 1762, en Georg David Matthieu werd geboren in 1737.
Portrait of Charlotte of Mecklenburg-Strelitz, Joachim Ulrich Giese, Portrait of a man in armour, Portrait of Amelie of Mecklenburg-Schwerin, The Wife of Joachim Ulrich Giese, Friedrich der Fromme, Portrait of Grand-duke Friedrich Franz I of Mecklenburg-Schwerin and his tutor, Portrait of duchess Ulrike Sophie of Mecklenburg, Louise Friderike of Württemberg en Portrait johann carl dähnert. Het jaar en het museum per werk staan in de bovenstaande ranglijst.
21 werken van Georg David Matthieu staan in onze catalogus.
Voornamelijk in Staatliche Museen zu Berlin (Berlijn), National Portrait Gallery of Sweden (Strängnäs) en Nationaal Museum in Warschau (Warschau). Zie de museumtabel hierboven voor de volledige lijst.
In 1762: 3 van de 19 hier gerangschikte schilderijen stammen uit die tijd, waaronder Portrait of Charlotte of Mecklenburg-Strelitz.
Onder de 19 schilderijen die hier gerangschikt zijn: Portraits (6), Royalty (4) en Portraiture (2).
Oil On Canvas, voor 2 van de 19 schilderijen in deze ranglijst.
Rococo, gebaseerd op de schilderijen gerangschikt op deze pagina.
Het Staatliche Museen zu Berlin, Berlijn herbergt 2 van de schilderijen in deze ranglijst, waaronder Joachim Ulrich Giese en The Wife of Joachim Ulrich Giese.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie of als een print. Open het schilderij, kies de gewenste afmeting en plaats uw bestelling.
Berlin, 1737. The air in the studio of David Matthieu carries the scent of oil and pigment, a workspace where Georg David Matthieu begins his life within a family of established artists. He does not merely observe the craft; he breathes it through a lineage that connects him to the Prussian court. His father, David, holds the position of court painter in Prussia, providing a foundation of technical rigor. This connection extends through his stepmother, Anna Rosina, linking Georg to the influential Georg Lisiewski and the talented Anna Dorothea Therbusch.
The training is intimate and rigorous. He learns the precision required for engraving and the delicate touch needed for portraiture under his father's direct gaze. This early immersion in the mechanics of light and shadow prepares him for a life defined by the demands of the aristocracy. His path is not one of solitary wandering but of professional continuity, moving through the established circles of German and Swedish nobility.
A shift occurs in 1764. Following his work on a portrait of Queen Sophie Charlotte, Georg David Matthieu secures a position that alters his social and professional standing: court painter to the Duke of Mecklenburg-Schwerin. He moves into an apartment within the newly built Ludwigslust Palace. The transition from a student of the Prussian tradition to a resident of the ducal court brings a new set of responsibilities and a specific aesthetic demand.
Life at the court follows a strict hierarchy. As a painter ranked 20th out of 24, his existence is governed by the system established by Duke Friedrich William. His compensation is fixed—250 Reichstalers annually, supplemented by free food and housing for his family. He spends his days documenting the ducal family and their relatives, capturing the physical presence of the Mecklenburg-Schwerin line. The work is constant. He is on call, tasked with projecting the dignity of the house through the Rococo style.
The portraits produced during this period focus on the material reality of the 18th-century elite. In works such as the portrait of Joachim Ulrich Giese, the emphasis lies on texture and social signifiers. A red velvet coat is rendered with a weight that contrasts against white lace cuffs. The light does not merely illuminate; it sculpts figures from the surrounding darkness, providing a sense of three-dimensionality to the subjects.
Matthieu utilizes specific elements to communicate status:
His friendship with Jakob Philipp Hackert likely brings broader European influences into his practice, particularly through shared study trips to Italy. This exposure refines his ability to handle color schemes and the delicate exuberance of the Rococo period. Even in smaller works, such as his drawings in black and red chalk or blue pastel, the precision of his hand remains evident. He dies in 1778, leaving behind a body of work that remains housed in the collections of the Staatliches Museum Schwerin, the Gemäldegalerie Berlin, and The Metropolitan Museum of Art.
