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Portrait of a Woman
Håndmalet oliereproduktion fra $181 29 × 34 cm
Samme størrelse som originalen $226 46 × 54 cm Bestil i original størrelse →
Portrait of a Woman (1909) er det mest berømte maleri af Hellmut Eichrodt, som er i Staatliche Kunsthalle Karlsruhes samling i Karlsruhe. Udvalgt fra de 2 værker af Hellmut Eichrodt i vores katalog er her de 2, 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 oktober 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Hellmut Eichrodt | Malerier fra denne liste |
|---|---|---|---|
 Staatliche Kunsthalle Karlsruhe |
Karlsruhe | 2 | Portrait of a Woman, Female Portrait in Profile Facing Left |
Hellmut Eichrodts karriere på denne side strækker sig over 6 år, fra 1909 til 1914: en kort periode, der her følger de mest kendte malerier år for år.
Portrait of a Woman (1909)
37 år gammel: Portrait of a Woman er fra 1909, og Hellmut Eichrodt blev født i 1872.
Vores katalog indeholder 2 værker af Hellmut Eichrodt, dateret fra 1909 til 1914.
De fleste af dem findes i Staatliche Kunsthalle Karlsruhe (Karlsruhe). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Portrait of a Woman (1909), det seneste Female Portrait in Profile Facing Left (1914).
Portrait of a Woman og Female Portrait in Profile Facing Left er blandt de 2 værker på denne side, som er i Staatliche Kunsthalle Karlsruhe, Karlsruhe's samling.
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.
Bruchsal, 1872. A life begins that will eventually bridge the gap between fine art and the printed page. Hellmut Eichrodt enters the studios of the Karlsruher Kunstakademie, a student navigating the rigorous training of the late nineteenth century. He moves under the guidance of Hans Thoma and Leopold Graf von Kalckreuth, absorbing the technical foundations of German painting. The years between 1890 and 1903 are defined by this academic discipline.
The focus shifts from the canvas to the periodical. Between 1897 and 1912, Eichrodt finds a rhythm within the pages of Jugend and Simplicissimus. Here, the graphic artist meets the public through mass reproduction. His hand shapes the visual identity of these influential magazines, translating complex imagery into the sharp, reproducible lines required for print. This period marks his emergence as a significant contributor to German graphic culture.
The scale of his work expands beyond the magazine spread. Eichrodt moves into the architectural realm, applying pigment to the very bones of public and sacred spaces. He leaves his mark on the Karlsruher Christuskirche through multiple murals. His reach extends far beyond German borders; he contributes a mural for the mausoleum in Addis Abeba, built for the Ethiopian emperor Menelik II. These large-scale works demand a different command of space than his graphic illustrations.
Commercial necessity drives much of his output during his later years. Through collaboration with the Kunstdruckerei Künstlerbund Karlsruhe, he becomes a designer of advertisements and posters. His name appears on the branding for various entities:
Eichrodt’s graphic legacy includes specific narrative collections created for Friedrich Dreser. In 1908 and 1909, he produces the imagery for Der Froschkönig, Der Soldat, and Die sieben Raben. He marks these collections with a simple, personal signature: "H-E".
The year 1918 brings a starker application of his skill. As the Grand Duchy of Baden calls upon its soldiers to lay down their arms and return home, Eichrodt illustrates this historical moment. The artist passes away in Karlsruhe in 1943, leaving behind a body of work held in collections such as the Staatliche Kunsthalle Karlsruhe, including portraits like his 1909 Frauenbildnis.