Maleriet, der gjorde Daniel Koerner berømt, er West Side Ramp (1938); det hænger på Smithsonian American Art Museum i Washington, D.C.. Af de 2 værker af Daniel Koerner i vores katalog er disse 2 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Daniel Koerner | Malerier fra denne liste |
|---|---|---|---|
 Smithsonian American Art Museum |
Washington, D.C. | 1 | West Side Ramp |
 Metropolitan Museum of Art |
New York | 1 | Farm in Moonlight |
Hvert dateret mesterværk af Daniel Koerner på denne side tilhører 1938: her er de.
West Side Ramp (1938)
29 år gammel: West Side Ramp er fra 1938, og Daniel Koerner blev født i 1909.
Vores katalog indeholder 2 værker af Daniel Koerner.
De fleste af dem findes i Smithsonian American Art Museum (Washington, D.C.) og Metropolitan Museum of Art (New York). Tabellen ovenfor lister museerne enkeltvis.
I 1938: 2 af de 2 værker på denne side stammer fra denne periode, herunder 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.