Maleriet, der gjorde Sofie Fohn berømt, er Seated Polish Woman in Costume (painted in Paris 1932) (1933); det hænger på Bavarian State Painting Collections i München. Market in Olevano Romano (1944) og Motif in Villa Adriana, Tivoli (1942) følger efter i samlernes og museumsgæsternes hjerter. Af de 21 værker af Sofie Fohn i vores katalog er disse 17 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.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Sofie Fohn | Malerier fra denne liste |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 17 | Seated Polish Woman in Costume (painted in Paris 1932), Market in Olevano Romano, Motif in Villa Adriana, Tivoli |
Seated Polish Woman in Costume (painted in Paris 1932) (1933), Bavarian State Painting Collections, München. Derefter følger Market in Olevano Romano (1944) og Motif in Villa Adriana, Tivoli (1942).
34 år gammel: Seated Polish Woman in Costume (painted in Paris 1932) er fra 1933, og Sofie Fohn blev født i 1899.
Seated Polish Woman in Costume (painted in Paris 1932), Market in Olevano Romano, Motif in Villa Adriana, Tivoli, In the Villa Adriana, In the Villa Adriana near Tivoli, Motif in Olevano Romano at the Fountain, Self-Portrait with Fever at the Easel in Kastelruth, Mushroom Still Life on Blue Paper, Garden Flowers in the Enamel Jug og Peach Still Life. Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 21 værker af Sofie Fohn, dateret fra 1933 til 1965.
De fleste af dem findes i Bavarian State Painting Collections (München). Tabellen ovenfor lister museerne enkeltvis.
I 1940s: 10 af de 17 værker på denne side stammer fra denne periode, herunder Market in Olevano Romano.
Det tidligste på denne side er Seated Polish Woman in Costume (painted in Paris 1932) (1933), det seneste Flowers in Blue Glass Vase (1965).
Seated Polish Woman in Costume (painted in Paris 1932), Market in Olevano Romano og Motif in Villa Adriana, Tivoli er blandt de 17 værker på denne side, som er i Bavarian State Painting Collections, München's samling.
Born in Munich, Germany, in 1899, Sofie Fohn lived through a century of profound transformation. While many remember the era for its political upheaval, her life was deeply intertwined with the quiet, persistent act of preserving culture. She was a painter, but her legacy is also defined by her role as an art collector alongside Emanuel Fohn. Together, they navigated a period where art was often caught in the crosshairs of ideology, working to protect works that were at risk of being lost to history.
Her connection to the city of Munich remained a constant thread throughout her life. It was a place of deep artistic tradition, and she moved through its spaces as both a creator and a guardian of the visual arts. By the time she passed away in 1990, she had seen the world change many times over, yet her commitment to the survival of art remained steady.
The work of Sofie Fohn extended beyond the canvas. During a time when many modern works were being seized or sold off under political pressure, she and Emanuel Fohn made a deliberate choice to intervene. They sought out pieces that were being marginalized, using their resources to ensure these works remained in safe hands. This was not merely a hobby; it was a response to the instability of the era.
Their efforts resulted in a significant collection that eventually found its way into public hands. This collection included a variety of media and formats, such as:
In 1964, a portion of this collection was donated to the Bavarian State Painting Collections. This gift ensured that the works they had rescued would be available for others to see, moving from private protection into the public light.
The significance of Sofie Fohn lies in the intersection of her own creative life and her dedication to the survival of art. By collecting works that were threatened by totalitarianism, she helped maintain a link to the modern movements that might otherwise have been erased. Her life reflects a quiet resistance, found in the simple, necessary act of keeping art alive for the next generation.
