River Landscape in Switzerland (1850) er det mest berømte maleri af Anton Pick. View of the Mondsee (1902) og The Tellskapelle on Lake Lucerne (1905) er de næste to værker, som verden kender bedst. Udvalgt fra de 5 værker af Anton Pick i vores katalog er her de 5, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Anton Pick arbejdede i 56 år, fra 1850 til 1905: her er den lange karriere år for år, gennem de mest kendte malerier.
River Landscape in Switzerland (1850). Derefter følger View of the Mondsee (1902) og The Tellskapelle on Lake Lucerne (1905).
10 år gammel: River Landscape in Switzerland er fra 1850, og Anton Pick blev født i 1840.
Vores katalog indeholder 5 værker af Anton Pick, dateret fra 1850 til 1905.
Det tidligste på denne side er River Landscape in Switzerland (1850), det seneste The Tellskapelle on Lake Lucerne (1905).
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
The light shifts over the Austrian landscape, catching the ripples of a mountain lake. Anton Pick captures these fleeting moments through a lens of quiet observation. Born in 1840, his life is tied to the geography of Central Europe, a region defined by its dramatic peaks and serene waters. His brushwork seeks to translate the physical weight of the mountains and the transparency of the lakes into a visual language of light and shadow.
His work often centers on the specificities of the Austrian terrain. He does not merely paint scenery; he documents the atmosphere of a place. Whether it is the stillness of a riverbed or the architectural presence of a castle hill, his focus remains on the intersection of nature and the human environment. The compositions often lead the eye through a sequence of natural layers, from the immediate foreground to the distant, hazy summits.
The artist's output is defined by a commitment to the specificities of the Alpine and lakeside regions. His subjects are not abstract concepts but tangible locations that demand a precise understanding of light and perspective. His catalog reveals a deep connection to several key sites:
This dedication to place creates a body of work that functions as a visual record of the 19th-century landscape. His technique relies on the ability to balance the heavy, solid forms of rock and architecture against the fluid, shifting qualities of water and sky.
The final years of his life see a continued focus on these natural vistas. While some records suggest his passing occurred in 1902, others place his death in 1905. Regardless of the exact year, his influence remains tied to the tradition of landscape painting. His works, such as those depicting the Grundlsee with the Backenstein in the background, continue to find their way into collections and auctions, maintaining a presence in the market for Austrian landscape art.
His paintings remain sought after for their ability to transport the viewer to a specific, quiet moment in the Austrian wilderness. They are studies in light, geography, and the enduring presence of the mountains.