Obrazem, díky němuž se Daniel Koerner stal slavným, je West Side Ramp (1938); visí v Smithsonian American Art Museum v místě Washington, D.C.. Z 2 děl umělce Daniel Koerner v našem katalogu je těchto 2 nejoblíbenějších, z nichž každé je uvedeno s datem vzniku, muzeem a unikátními rysy.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
2 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Daniel Koerner | Obrazy z tohoto seznamu |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 1 | West Side Ramp |
 Metropolitan Museum of Art |
New York | 1 | Farm in Moonlight |
Každé datované dílo mistra Daniel Koerner na této stránce pochází z roku 1938: zde jsou.
West Side Ramp (1938)
29 let: dílo West Side Ramp pochází z roku 1938 a Daniel Koerner se narodil/a v roce 1909.
Náš katalog obsahuje 2 děl autora Daniel Koerner.
Většina z nich se nachází v Smithsonian American Art Museum (Washington, D.C.) a Metropolitan Museum of Art (New York). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1938: 2 z 2 děl na této stránce pochází z tohoto období, z nich West Side Ramp.
Daniel Koerner lived a life defined by the intersection of visual expression and social advocacy. Born in 1909, he moved through the mid-century American art scene not merely as a painter, but as a cartoonist and an active participant in the labor movements of his time. His work was often inseparable from the political climate of the era, reflecting the tensions and the organized efforts of artists seeking stability and recognition during the Great Depression.
His involvement in the Federal Arts Project was a defining chapter. Through his correspondence and manuscripts, we see a man deeply engaged with the mechanics of artistic survival. He was part of the complex discussions surrounding the Woodrum relief bill and the support for the Federal Arts Bill, navigating the precarious waters of government-sponsored art and the rights of the creators themselves.
Koerner’s output was diverse, spanning the delicate precision of illustration to the broader strokes of painting. As a cartoonist, he possessed a keen ability to distill complex social realities into singular, impactful images. This skill made him a natural fit for the burgeoning movements of artist unions and international organizations that sought to unify the creative community.
His legacy is found as much in his advocacy as in his aesthetics. He was a figure in the Artists' Union and the Artists League of America, contributing to the discourse on how artists should exist within a modern society. His papers reveal a man who understood that the brush and the pen were tools for both personal expression and collective action.