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Adam and Eve
Ručno oslikana uljana reprodukcija od $181 35 × 29 cm
Isti veličine kao i original $872 170 × 141 cm Naručite u izvornim dimenzijama →
Adam and Eve (1894) najpoznatije je djelo umjetnika Max Pietschmann, koje se nalazi u muzeju Narodní galerie Praha u gradu Prag. Od 1 djela umjetnika Max Pietschmann u našem katalogu, izdvajamo ovih 1 koja su najtraženija među kolekcionarima i posjetiteljima muzeja, uz godinu nastanka, naziv muzeja i priču o svakom od njih.
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1 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Max Pietschmann | Slike iz ovog popisa |
|---|---|---|---|
 Narodní galerie Praha |
Prag | 1 | Adam and Eve |
1894 je godina svakog datiranog remek-djela umjetnika Max Pietschmann na ovoj stranici: evo ih, poredanih prema popularnosti.
Adam and Eve (1894)
29 godina: Adam and Eve datira iz 1894, a Max Pietschmann je rođen/a 1865.
Naš katalog sadrži 1 djela umjetnika Max Pietschmann.
Većina njih se nalazi u Narodní galerie Praha (Prag). Gornja tablica navodi muzeje jedan po jedan.
Da. Svako djelo na ovoj stranici možete naručiti kao ručno oslikano ulje na platnu muzejske kvalitete ili kao umjetničku tisku, u odabranoj veličini, izravno sa stranice samog djela.
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.