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History Cycle: Marcus Curtius Sacrifices Himself for the Roman People
Håndmalet oliereproduktion fra $1406 27 × 37 cm
Samme størrelse som originalen $1979 123 × 162 cm Bestil i original størrelse →
History Cycle: Marcus Curtius Sacrifices Himself for the Roman People (1540) er det mest berømte maleri af Ludwig Refinger, som er i Bavarian State Painting Collectionss samling i München. Manlius Torquatus Fighting a Gaul og Horatius Cocles Stopping King Porsenna's Army outside Rome er de næste to værker, som verden kender bedst. Udvalgt fra de 4 værker af Ludwig Refinger i vores katalog er her de 3, 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.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Ludwig Refinger | Malerier fra denne liste |
|---|---|---|---|
 Nationalmuseum |
Stockholm | 2 | Manlius Torquatus Fighting a Gaul, Horatius Cocles Stopping King Porsenna's Army outside Rome |
 Bavarian State Painting Collections |
München | 1 | History Cycle: Marcus Curtius Sacrifices Himself for the Roman People |
1540 er året for hvert dateret Ludwig Refinger mesterværk på denne side: her er de, i rækkefølge efter berømmelse.
History Cycle: Marcus Curtius Sacrifices Himself for the Roman People (1540), Bavarian State Painting Collections, München. Derefter følger Manlius Torquatus Fighting a Gaul og Horatius Cocles Stopping King Porsenna's Army outside Rome.
30 år gammel: History Cycle: Marcus Curtius Sacrifices Himself for the Roman People er fra 1540, og Ludwig Refinger blev født i 1510.
Vores katalog indeholder 4 værker af Ludwig Refinger.
De fleste af dem findes i Nationalmuseum (Stockholm) og Bavarian State Painting Collections (München). Tabellen ovenfor lister museerne enkeltvis.
Manlius Torquatus Fighting a Gaul og Horatius Cocles Stopping King Porsenna's Army outside Rome er blandt de 2 værker på denne side, som er i Nationalmuseum, Stockholm'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.
The year 1510 marks the beginning of Ludwig Refinger in Ingolstadt, Germany. This Northern Renaissance painter emerges from the German landscape, shaped by the rigorous traditions of the era. His early years are defined by the structured progression of a craftsman's education, moving from the foundational lessons of a master to the specialized complexities of a professional studio.
The first significant shift in his development occurs under the guidance of Wolfgang Mielich. As an apprentice, Ludwig Refinger absorbs the technical fundamentals required to navigate the competitive art circles of the sixteenth century. This period of apprenticeship provides the essential groundwork, establishing the discipline necessary for his subsequent professional ascent.
The trajectory of his career shifts again when he enters the orbit of Barthel Beham. Working alongside Beham marks a transition from student to a collaborator within a high-level artistic environment. This association places him at the center of significant creative exchanges, moving him closer to the prestigious circles of the Bavarian court.
The court of Bavaria provides the central axis of Refinger's professional life. In 1537, the Duke William IV issues his first significant commission to the artist. This relationship deepens by 1540, when the Duke calls upon Refinger again to contribute three specific paintings to a larger history cycle. These works place Refinger within the inner circle of the Wittelsbach dynasty, moving him beyond the status of a mere craftsman into the role of a court-sanctioned painter.
The momentum of his career shifts toward the Landshut Residence. By 1542, Refinger secures a new ducal commission from Louis X. The scope of his work expands from the canvas to the very architecture of the palace. He is tasked with the complex technical demands of painting ceilings and the intricate design of stained glass windows. His hands move from the easel to the structural surfaces of the residence, integrating his vision into the physical fabric of the ducal seat.
Refinger’s brush often turned toward the dramatic narratives of Roman history. In one notable composition, he depicts the hero Horatius Cocles standing against the tide of King Porsenna's army outside the gates of Rome. This work functions as a Weltlandschaft, a world landscape where a vast, free-form panorama stretches toward a fantastical depiction of Rome in the distance. The scene captures a moment of intense military confrontation set against an expansive horizon.
The theme of self-sacrifice also dominates his output. Around 1540, he produced a work centered on the figure of Marcus Curtius, titled Le dévouement de Marcus Curtius. This subject matter focuses on the Roman figure who sacrificed himself for his people, a theme that resonates through his historical cycles. His interest in these classical tales of duty and bravery provides a structured framework for his compositions, bridging the gap between historical chronicle and visual drama.
Refinger’s brushwork carries the unmistakable imprint of his contemporaries. His compositions mirror the stylistic tendencies of Barthel Beham and Hans Schöpfer the Elder, grounding his work within the specific visual language of the Northern Renaissance. This regional connection is further complicated by a clear dialogue with the south; his paintings absorb the formal influences of Italian art from the beginning of the 16th century.
The tension between these Northern and Italian traditions manifests in his approach to space and landscape. In Horatius Cocles Stopping King Porsenna's Army outside Rome, he employs the "world landscape" technique, a method defined by a vast, freely composed panorama. He uses this expansive scale to push the viewer's eye toward the horizon, where a fanciful depiction of Rome emerges in the distance. This technique allows him to bridge the gap between immediate, dramatic action and a sweeping, atmospheric environment.