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Italian Landscape with Pines
Håndmalet oliereproduktion fra $181 36 × 28 cm
Samme størrelse som originalen $228 56 × 45 cm Bestil i original størrelse →
Italian Landscape with Pines (1809) er det mest berømte maleri af Simon Warnberger, som er i Bavarian State Painting Collectionss samling i München. Monastery in Southern Landscape (1807) og Group of Trees in Mountainous Landscape with Castell (1807) er de næste to værker, som verden kender bedst. Udvalgt fra de 9 værker af Simon Warnberger i vores katalog er her de 9, 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 Simon Warnberger | Malerier fra denne liste |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
München | 1 | Foothill Landscape |
Simon Warnberger arbejdede i 21 år, fra 1807 til 1827: her er den lange karriere år for år, gennem de mest kendte malerier.
Italian Landscape with Pines (1809), Bavarian State Painting Collections, München. Derefter følger Monastery in Southern Landscape (1807) og Group of Trees in Mountainous Landscape with Castell (1807).
40 år gammel: Italian Landscape with Pines er fra 1809, og Simon Warnberger blev født i 1769.
Vores katalog indeholder 9 værker af Simon Warnberger, dateret fra 1807 til 1827.
De fleste af dem findes i Bavarian State Painting Collections (München) og Lenbachhaus (München). Tabellen ovenfor lister museerne enkeltvis.
I 1807: 4 af de 9 værker på denne side stammer fra denne periode, herunder Monastery in Southern Landscape.
Det tidligste på denne side er Monastery in Southern Landscape (1807), det seneste Foothill Landscape (1827).
Italian Landscape with Pines, Monastery in Southern Landscape og Group of Trees in Mountainous Landscape with Castell er blandt de 8 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.
Simon Warnberger began his training under Joseph Georg Winter, learning the precise mechanics of drawing and etching. His hands learned the weight of the tool before he moved to the Academy of Fine Arts in Munich to study painting. By 1806, he had traveled to Italy, returning with sketches that he would later translate into oil on canvas. His eye for the natural world was noted by King Maximilian I of Bavaria, who appointed him a royal court painter in 1810. He was a man who moved through the landscape, capturing the way light settles on a mountain or how a forest gathers shadow.
His work often moved away from the rigid traditions of landscape painting. Instead of following a set formula, he sought to record a specific, observed impression of nature. He spent much of his time in Austria, Italy, and throughout Bavaria. His studio in Munich became a place where many of his oil paintings were realized, often following the sketches he made while walking through the Alpine foothills. He was part of a circle of artists who sought to establish a new way of seeing the land, focusing on the atmosphere and the subtle shifts in the environment.
Warnberger’s practice was defined by a versatility in medium and a commitment to the details of the terrain. He was an early adopter of lithography, successfully applying Alois Senefelder’s new technique to his artistic vision. His subjects were often the quiet, working parts of the landscape:
He was one of the first to document the Bavarian Oberland with such specific attention. His drawings and watercolors were not merely maps of a place, but records of a moment in time. He looked at the way a herd of cattle moved through a valley or how a river sat against a hillside. This focus on the mood of a place helped lead toward a different kind of landscape painting, one where the feeling of the air was as important as the shape of the mountains.
The marks he left on the history of German art are found in the collections of the Neue Pinakothek in Munich and the Staatliche Graphische Sammlung. He was a man of the academy, becoming a member in 1824, yet his work remained grounded in the actual, physical world. He did not look for the grand or the dramatic, but for the truth of the landscape as it appeared to a man standing in the field. His sketches and oils remain as evidence of a life spent watching the light change over the Alps.