Girl in the Entrance Hall (1851) je nejslavnější obraz autora Leonhard Faustner, který se nachází v muzeu Bavarské státní sbírky malby ve městě Mnichov. Z 1 děl umělce Leonhard Faustner v našem katalogu uvádíme 1 těch, na které se kolektéři a návštěvníci muzeí nejčastěji dívají, včetně roku vzniku, názvu muzea a příběhu každého díla.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Leonhard Faustner | Obrazy z tohoto seznamu |
|---|---|---|---|
 Bavarské státní sbírky malby |
Mnichov | 1 | Girl in the Entrance Hall |
1851 je rok vzniku všech díel s datem vzniku od Leonhard Faustner na této stránce: zde jsou, seřazena podle slávy.
Girl in the Entrance Hall (1851)
36 let: dílo Girl in the Entrance Hall pochází z roku 1851 a Leonhard Faustner se narodil/a v roce 1815.
Náš katalog obsahuje 1 děl autora Leonhard Faustner.
Většina z nich se nachází v Bavarské státní sbírky malby (Mnichov). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru přímo z jeho vlastní stránky.
Leonhard Faustner was born in Munich, Germany, on 16 February 1815. He grew up in a household tied to the service of the Bavarian court. His father worked as a royal Bavarian court saddler, a craftsman who served Kings Maximilian I. Joseph and Ludwig I. While the family trade involved leather and harness, Leonhard found his own way through the visual arts, eventually focusing his attention on glass, architecture, and landscape painting.
The lineage of painting continued into the next generation. His son, Luitpold Faustner, was born in 1845 and followed a similar path as a landscape painter. Luitpold remained active in the art world for many decades, living until 1925. This connection to the craft suggests a home where the technicalities of sight and form were a constant presence.
His early years in Munich were marked by a pull toward the brush rather than the trade of his father, a royal Bavarian court saddler. This inclination led him toward the Academy of Fine Arts Munich. His path there was not without friction; an initial assessment from an academy professor was not favorable, yet he was eventually admitted to the institution to pursue his training.
His professional life became deeply intertwined with the light and color of Munich glass painting. He emerged as a significant figure in this medium during the 19th century. Following the death of Max Emanuel Ainmiller, he took over the leadership of the Royal Glass Painting Institute in Munich. His work in this capacity involved technical innovations and a focus on design that helped shape the direction of the institute.
Beyond the glass, his hands moved between different scales of vision. He worked on architectural and landscape paintings, capturing the physical world and the spaces within it. His output also included various decorative designs, showing a versatility that extended from large-scale glasswork to smaller, more intimate compositions.
Faustner’s hand moved between the delicate precision of glass and the broader strokes of the landscape. He was a significant figure in the Munich glass painting tradition, where he focused on technical innovations and the intricate design work required for the medium. His work in this field was not merely about color, but about how light interacts with the material, a skill that eventually led him to lead the Royal Glass Painting Institute in Munich.
Beyond the glass, his interests were varied. He produced architectural and landscape images, capturing the structures and natural settings of his time. One such piece, a work titled Baierbrunn, was executed in lead. This specific piece measures 17.5 cm x 27.8 cm, showing a focus on scale that allowed for intimate, detailed compositions.
Tracing the physical remains of Faustner's output requires a visit to Munich. Much of his legacy is held within the Bavarian State Painting Collections. One can find his handiwork preserved in the Städtische Galerie im Lenbachhaus und Kunstbau München. This institution holds a piece titled Baierbrunn, which was brought into the museum's collection in 1940.
This specific work, Baierbrunn, is cataloged under the inventory number G 6530. It is a piece made of lead, measuring 17.5 cm by 27.8 cm. Seeing it allows for a close look at the technical precision required for his glass and architectural designs. The museum's archives keep these records of his contributions to the Munich glass painting tradition.
Leonhard Faustner spent his final years in Munich, the city of his birth. He remained part of the local artistic fabric until his death on 1 April 1884. He was 69 years old when he passed away in Munich, Germany.
His resting place is located at the Alter Südlicher Friedhof in Munich. The grave is situated in Gräberfeld 5, Reihe 2, Platz 23. The tombstone itself carries a piece of his own craft; it features a glass mosaic depicting a Christ face with a halo set against a blue background. This detail reflects his long association with the art of glass painting.