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Totalitarianism
Ručně malovaná olejná reprodukce od $181 27 × 37 cm
Velikost jako originál $465 87 × 120 cm Objednat v originální velikosti →
Obrazem, díky němuž se Tomáš Andraškovič stal slavným, je Totalitarianism (1920); visí v Slovenská národní galerie v místě Bratislava. Z 3 děl umělce Tomáš Andraškovič 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. 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 Tomáš Andraškovič | Obrazy z tohoto seznamu |
|---|---|---|---|
 Slovenská národní galerie |
Bratislava | 2 | Totalitarianism, Burlaks on the Volga - Copy of the Painting by Repin |
Celých deset let malování, od 1920 až po 1929, bylo pro Tomáš Andraškovič vším, čím byla: zde jsou její díla, rok po roce.
Totalitarianism (1920)
49 let: dílo Totalitarianism pochází z roku 1920 a Tomáš Andraškovič se narodil/a v roce 1871.
Náš katalog obsahuje 3 děl autora Tomáš Andraškovič z let 1920 až 1929.
Většina z nich se nachází v Slovenská národní galerie (Bratislava). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
Nejstarší dílo na této stránce pochází z Totalitarianism (1920), nejnovější z Burlaks on the Volga - Copy of the Painting by Repin (1929).
Totalitarianism a Burlaks on the Volga - Copy of the Painting by Repin patří mezi 2 děl na této stránce, která má v zastarání Slovenská národní galerie, Bratislava.
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.
Tomáš Andraškovič was a Slovak painter and portraitist whose presence in the regional art scene was defined by a specific engagement with national symbolism. Born on December 8, 1871, in Hlohovec, his practice moved beyond simple representation to incorporate themes similar to those explored by Milan T. Mitrovsky and Ivan Žabota. This focus on national identity gave his work a weight that distinguishes it from mere decorative portraiture. He spent a significant portion of his career working in Munich, a period that clearly informed his technical approach and professional development.
His output was not limited to a single genre, though his skill as a portraitist was a central component of his professional identity. The trajectory of his life took him from the formative years in Hlohovec to the urban centers of Central Europe, eventually ending in Bratislava, where he died in 1944. Andraškovič operated within a specific cultural context, contributing to the visual language of Slovak art through a lens of symbolic importance. His work remains a concrete record of these shifting national sentiments.
Andraškovič’s professional development was shaped by his time in Munich. This period was not merely a geographic shift but a critical networking phase where he met Alexander Kubínyi. Such connections placed him within a specific circle of painters working during a transformative era. His presence in Munich allowed him to move beyond local provincialism and engage with broader European artistic currents.
His exhibition history reveals a deliberate engagement with regional art networks. In 1903, he participated in the Žilina Industrial Exhibition, a significant venue for showcasing talent within the Slovak context. He also contributed to a joint exhibition of Moravian-Slovak and Hungarian-Slovak painters held in Hodonín. These appearances demonstrate a career built on visibility within organized, cross-border artistic dialogues rather than isolated studio work.
Andraškovič’s output reveals a preoccupation with heavy, politically charged imagery and the technical demands of large-scale composition. His 1918 Study for the Poster the Great October Socialist Revolution demonstrates an early engagement with the visual language of political upheaval. This was not a singular impulse; he returned to this specific subject matter a decade later, producing another Study for the Poster the Great October Socialist Revolution in 1928. These studies suggest a rigorous approach to the mechanics of propaganda and the structural requirements of poster art.
His work often moved between original compositions and the technical exercise of replication. In 1929, he produced a copy of Repin’s Burlaks on the Volga, a move that highlights his engagement with established Russian realism and the formal challenges of translating existing compositions. This period of his career shows a painter navigating the tension between personal expression and the imitation of established masters. His 1920 work, Totality, further underscores this focus on weight and presence within the frame.
The primary repository for Andraškovič's surviving output is the Slovak National Gallery in Bratislava. This institution maintains the most significant collection of his paintings, holding three distinct works that represent his output during the early twentieth century. These pieces provide the most direct evidence of his technical approach and his engagement with the visual language of his era.
Visitors to the Slovak National Gallery in Bratislava can find Study for the Poster the Great October Socialist Revolution, Totality, and Burlaks on the Volga within the permanent collection. These works demonstrate the breadth of his subject matter, ranging from political studies to compositions inspired by the works of Repin. Seeing these specific paintings in a single institution allows for a clear understanding of his development as a painter.