Julius Widnmann's mest berømte maleri er Evening at Donauwörth (1902) i Bavarian State Painting Collections, München. Sammen med At the Lakeside near Chieming (1902) og In the Eselsburger Tal (1911) udgør de de tre værker, som alle kender. Vores katalog indeholder 6 værker af Julius Widnmann; de 5 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
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.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Julius Widnmann | Malerier fra denne liste |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 5 | Evening at Donauwörth, At the Lakeside near Chieming, In the Eselsburger Tal |
Fra 1902 til 1913 strækker Julius Widnmanns karriere sig over 12 år, knap mere end et årti: her er det år for år, med de mest berømte malerier fra hvert år.
Evening at Donauwörth (1902), Bavarian State Painting Collections, München. Derefter følger At the Lakeside near Chieming (1902) og In the Eselsburger Tal (1911).
37 år gammel: Evening at Donauwörth er fra 1902, og Julius Widnmann blev født i 1865.
Vores katalog indeholder 6 værker af Julius Widnmann, dateret fra 1902 til 1913.
De fleste af dem findes i Bavarian State Painting Collections (München). Tabellen ovenfor lister museerne enkeltvis.
I 1902: 2 af de 5 værker på denne side stammer fra denne periode, herunder Evening at Donauwörth.
Det tidligste på denne side er Evening at Donauwörth (1902), det seneste The Brenzpot (1913).
Evening at Donauwörth, At the Lakeside near Chieming og In the Eselsburger Tal er blandt de 5 værker på denne side, som er i Bavarian State Painting Collections, München'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.
Julius Widnmann remains a definitive figure of the Munich School, a painter whose work captures the quietude of the 19th-century landscape. His output was not a pursuit of the avant-garde, but a disciplined engagement with the natural world. He focused on the atmospheric qualities of mountain scenes, lakes, and rural vistas, often working in oil on canvas. His ability to translate the stillness of the Bavarian countryside into a visual language made him a significant presence in the Munich art scene. He did not merely paint scenery; he documented a specific sense of place and light.
His technical development was shaped by a rigorous academic lineage. He studied at the Academy of Fine Arts in Munich, moving through the mentorship of several key figures. His training was not a singular path but a series of refinements under different masters:
The influence of Keller-Reutlingen was particularly decisive, steering Widnmann toward the landscape painting that would define his career. This academic foundation allowed him to move beyond simple illustration into a more profound exploration of terrain and atmosphere.
Widnmann’s professional life was split between the precision of illustration and the expansive nature of landscape painting. He was a prolific illustrator, contributing to significant publications such as the fairy tale book Die Erdmännlein und andere Märchen published by Ernst Nister. This capacity for detailed, narrative work suggests a technical versatility that complemented his larger-scale oil paintings. His social and professional circles were deeply embedded in the German art establishment; he was a member of the German Werkbund and held a seat on the board of the German Art Association.
His connection to the landscape was so specific that he earned the title "Painter of Bad Kreuth" due to the many works produced in that region. This was not a mere nickname but a recognition of his ability to capture the specific character of that locality. His work was not confined to private collections; he exhibited at the Munich Glaspalast and was represented at the International Art Exhibition in 1905. Today, his legacy is preserved in institutional collections, including the Neue Pinakothek in Munich, the Bavarian State Painting Collections, and the Museum of Saxon Folk Art in Dresden.