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Adam and Eve
Käsitööna maalatud õlireproduction alates $181 35 × 29 cm
Originaadi suurusega $872 170 × 141 cm Telli originaalkoguses →
Adam and Eve (1894) on Max Pietschmann kuulsaim teos, mis kuulub Praha Rahvuslik Galerii Praha kogumikus. Max Pietschmann 1 teoseaga meie kataloogist on siin 1 kõige vaadeldavamat teost, mida sammlerid ja muuseumi külastajad on jälginevad, koos aasta, museumi ja iga teose ajaloolise luguga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Max Pietschmann teosid | Selle nimekirja maalid |
|---|---|---|---|
 Rahvuslik Galerii Praha |
Praha | 1 | Adam and Eve |
1894 on iga sellel lehel esitatud Max Pietschmann meistriteose kuupäev; siin on need kuupäevast tulnud teosed kubus järjekorras.
Adam and Eve (1894)
29 aastat vanus: teos Adam and Eve on aastatest 1894 ja kunstnik Max Pietschmann on sündinud aastal 1865.
Meie kataloogist leiate 1 teost kunstnikult Max Pietschmann.
Enamik neist asub Rahvuslik Galerii Praha (Praha). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
Ernst Max Pietschmann lived much of his life within the quiet landscapes and academic circles of Dresden, Germany. Born on August 6, 1865, he began his formal training at the Dresden Academy of Fine Arts, where he studied under Leon Pohle and Ferdinand Pauwels between 1883 and 1889. His path took him far beyond the borders of his home city, including two years spent in Italy alongside Hans Unger and time spent at the Académie Julian in Paris, focusing largely on the study of nude drawing.
He eventually returned to the familiar surroundings of Saxony, becoming part of the painters' colony in Goppeln. This group focused on plein air painting, capturing the light of the natural world directly from the landscape. In 1904, he moved into a studio house built in an Italian style in Niederpoyritz, where he remained until his death in 1952. His professional life was deeply tied to the Dresden Academy, where he was appointed as a professor in 1909.
Pietschmann’s work is often identified with the German Symbolist movement. He did not follow the later shifts toward Expressionism or New Objectivity that emerged during and after the First World War. Instead, his paintings remained connected to a tradition shared by artists like Max Klinger and Arnold Böcklin. His repertoire frequently explored mythological themes and the human form.
Some of his notable works include:
Under the pseudonym Fr. Laubnitz, he produced pictures that found a wide audience as mural prints during the first half of the twentieth century. This side of his practice allowed his imagery to enter many homes through more accessible formats.
Throughout his career, Pietschmann was part of a group of artists known as the "phalanx of the strong," which included figures such as Oskar Zwintscher and Richard Müller. This group represented the artistic pulse of Dresden at the turn of the century. His presence in the Visual Artists' Association of Dresden helped define the local secession movement.
Today, much of his physical and creative output is preserved within German institutions. His paintings can be found in the following locations:
He passed away on April 16, 1952, and was laid to rest in the Hosterwitz Cemetery in Dresden, leaving behind a body of work that remains anchored in the traditions of his era.