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Italian Landscape with Pines
Käsitööna maalitud õlireproduction alates $181 36 × 28 cm
Originaadi suurusega $228 56 × 45 cm Telli originaalkoguses →
Italian Landscape with Pines (1809) on Simon Warnberger kuulsaim teos, mis kuulub München Bavaria riiklikud maalidema kogumikud kogumikus. Monastery in Southern Landscape (1807) ja Group of Trees in Mountainous Landscape with Castell (1807) on järgmised kaks maailmas kõige tuntumat teost. Simon Warnberger 9 teoseaga meie kataloogist on siin 9 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.
Kümne 2 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseum | Linn | Simon Warnberger teosed | Selle nimekirja maalid |
|---|---|---|---|
 Bavaria riiklikud maalidema kogumikud |
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 töötas 21 aastat, aastast 1807 kuni 1827: siin on tema pikk karjäär aastaaegla peakate läbi tema kõige tuntumate maalide.
Italian Landscape with Pines (1809), Bavaria riiklikud maalidema kogumikud, München. Järgnevad Monastery in Southern Landscape (1807) ja Group of Trees in Mountainous Landscape with Castell (1807).
40 aastat vanus: teos Italian Landscape with Pines on aastatest 1809 ja kunstnik Simon Warnberger on sündinud aastal 1769.
Meie kataloogis on 9 teost kunstnikult Simon Warnberger, aastatest 1807 kuni 1827.
Enamik neist asub Bavaria riiklikud maalidema kogumikud (München) ja Lenbachhaus (München). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Ajast 1807: 4 9 sellel lehel olevat teost pärineb sellest ajastu teosest, nende hulgas on Monastery in Southern Landscape.
Sellel lehel on kõige vanem teos Monastery in Southern Landscape (1807) ja kõige uuem Foothill Landscape (1827).
Italian Landscape with Pines, Monastery in Southern Landscape ja Group of Trees in Mountainous Landscape with Castell on üks 8 teosest sellel lehel, mida hoiab Bavaria riiklikud maalidema kogumikud, München.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
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.