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Cea mai celebră pictură a lui Conrad Meyer este Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661); originalul se află la Scottish National Gallery, Edinburgh. Portrait of Hans Conrad Lavater (1686) și Portrait of Cleophea Lavater (1686) sunt numerele doi și trei. Dintre cele 3 opere ale lui Conrad Meyer din catalogul nostru, acestea sunt cele 3 cele mai faimoase, clasificate, fiecare cu anul și muzeul său, astfel încât puteți alege pictura pe care doriți să o comandați.
Cele 2 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Conrad Meyer | Picturi din această listă |
|---|---|---|---|
 National Museum Zurich |
Zurich | 2 | Portrait of Hans Conrad Lavater, Portrait of Cleophea Lavater |
 Scottish National Gallery |
Edinburgh | 1 | Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) |
26 ani de picturi cu Conrad Meyer, de la 1661 la 1686: parcurge cronologia an de an și alege perioada preferată pentru peretele tău.
Selectați o anul pentru a vedea picturile acestuia.
Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661), Scottish National Gallery, Edinburgh, ocupă prima poziție, urmat de Portrait of Hans Conrad Lavater (1686) și Portrait of Cleophea Lavater (1686).
Conrad Meyer avea 43 ani: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) este datată 1661, iar Conrad Meyer s-a născut în 1618.
În catalogul nostru sunt 3 lucrări ale lui Conrad Meyer, datate între 1661 și 1686.
În principal în National Museum Zurich (Zurich) și Scottish National Gallery (Edinburgh). Consultați tabelul muzeelor de mai sus pentru lista completă.
În 1686: 2 dintre cele 3 picturi clasate aici datează din acea perioadă, inclusiv Portrait of Hans Conrad Lavater.
Cea mai veche de pe această pagină: Elisabeth Locher, Mrs Hans Konrad Heidegger (1616 - 1673) (1661). Cea mai recentă: Portrait of Hans Conrad Lavater (1686).
National Museum Zurich, Zurich deține 2 dintre picturile clasate aici, inclusiv Portrait of Hans Conrad Lavater și Portrait of Cleophea Lavater.
Da. Fiecare pictură de pe această pagină poate fi comandată ca reproducere pictată manual în ulei sau ca print. Deschide pictura, alege dimensiunea și plasează comanda.
Born in Zurich on 3 October 1618, Conrad Meyer entered a world where art was a family trade. His father, Dietrich Meyer the Elder, provided his first lessons in painting and engraving, establishing a foundation of technical discipline that would define his career. This early training was not confined to the walls of a single studio; between 1638 and 1642, Meyer moved through Bern and Solothurn before reaching Germany. In Frankfurt, he sought the company of Matthäus Merian the Elder, an encounter that likely expanded his understanding of the printed image.
His life was anchored in the Old Swiss Confederacy, yet his vision was expansive. He returned to Zurich, where he established himself as a central figure in the local artistic community. His marriage to Susanna Murer in 1649 brought him into connection with established families, and his son, Johannes Meyer the Younger, would eventually follow his father's footsteps into the arts. While much of his life was spent within the familiar borders of Zurich, his work reflected a man who looked closely at the world around him.
Meyer possessed a versatility that allowed him to move between the heavy application of oil on canvas and the delicate precision of the needle. He was a prolific creator of prints, with approximately 1,000 surviving illustrations and designs. His hand was equally capable in religious and historical scenes as it was in the more intimate realms of portraiture. He accepted commissions from Catholic patrons, producing over 100 etched images of saints, demonstrating an ability to navigate the diverse spiritual landscape of his era.
His printmaking often served a civic purpose. In 1645, he created an etching regarding table manners for the Zurich civic library’s New Year publication, a work intended to instruct the youth on proper behavior. This tradition of annual publications became a fixture of the city's cultural life. His portraiture was another significant pillar of his practice; he produced around 200 portraits, capturing the likenesses of guild masters, councillors, and clergy members with a steady, observant eye.
Perhaps Meyer’s most enduring contribution to the Swiss tradition was his approach to the landscape. He was among the first to treat the natural world as an independent subject rather than a mere backdrop for human drama. His 1647 painting of the Rhine Falls is noted for being one of the earliest topographically accurate depictions of that site. He did not merely observe from a distance; he engaged with the terrain through direct study.
Between 1653 and 1657, Meyer traveled through Switzerland four times alongside Jan Hackaert. During a 1655 expedition through the Glarus region, he produced large drawings based on the close observation of mountain landscapes. These works are recognized as early landmarks in the development of Alpine painting. By documenting the high Alps with such topographical focus, he laid the groundwork for future generations of artists who would seek to capture the rugged character of the Swiss landscape.
