Peter Parlers mest kjente maleri er Self-portrait (1379), i St. Vitus-katedralen, Köln. Sammen med Head of Charles IV (1375) og Selvportrett (1379) utgjør de de tre verkene som alle kjenner igjen. Vår katalog inneholder 4 verk av Peter Parler; de 4 nedenfor er de som verden ser mest på, hver med årstall, museet som huser verket og hvorfor det er betydningsfullt.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert October 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
To look upon this relief is to encounter a man caught in a moment of quiet contemplation. Carved from stone around 1379, this bust offers a rare, intimate glimpse into the identity of Peter Parler. He presents himself not as a distant figure of authority, but as a man of flesh and bone, rendered with a startling degree of naturalism. The head is slightly tilted, a subtle movement that breaks…
A heavy silence resides in the gray stone of this bust. The face of Charles IV emerges from the material, a study in rigid dignity and the weight of a crown. Light falls across the brow, catching the deep-set eyes and the sharp, carved lines of a beard that seems to hold the dust of centuries. It is a portrait of a man who shaped a kingdom, rendered in the…
Parler arbejdede primært ved St. Vitus Katedral i Prag, hvilket placerer hans kunstværk direkte i hjertet af middelalderens Centraleuropa. Denne katedral var allerede et imponerende eksempel på gotisk arkitektur før Parler kom til Prag og udførte sine betydelige ændringer og udvidelser. Hans arbejde bidrog væsentligt til Prags kunstneriske arv og cementerede hans position som en af de mest fremtrædende kunstnere i sin tid.
De fire motivene som forekommer hyppigst blant disse mesterverkene, med det fremste eksemplet på hvert av dem.
De 2 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Peter Parler | Malerier fra denne listen |
|---|---|---|---|
 St. Vitus-katedralen |
Köln | 3 | Self-portrait, Head of Charles IV, Selvportrett |
 Vittuskatedralen |
Praha | 1 | Tomb of Ottokar II |
Peter Parler var aktiv i kun 5 år, fra 1375 til 1379. Her er det korte virket år for år, gjennom de mest kjente maleriene.
A heavy silence resides in the gray stone of this bust. The face of Charles IV emerges from the material, a study in rigid dignity and the weight…
To look upon this relief is to encounter a man caught in a moment of quiet contemplation. Carved from stone around 1379, this bust offers a rare, intimate…
Parler arbejdede primært ved St. Vitus Katedral i Prag, hvilket placerer hans kunstværk direkte i hjertet af middelalderens Centraleuropa. Denne katedral var allerede et imponerende eksempel på gotisk…
Self-portrait (1379), St. Vitus-katedralen, Köln. Deretter følger Head of Charles IV (1375) og Selvportrett (1379).
49 år gammel: Self-portrait er fra 1379, og Peter Parler ble født i 1330.
Vår katalog inneholder 4 verk av Peter Parler, datert fra 1375 til 1379.
De fleste av dem befinner seg i St. Vitus-katedralen (Köln) og Vittuskatedralen (Praha). Tabellen ovenfor lister opp museene ett etter ett.
I 1379: 2 av de 4 verkene på denne siden er fra denne perioden, inkludert Self-portrait.
Det eldste på denne siden er Head of Charles IV (1375), det nyeste Self-portrait (1379).
Stone: 2 av 4 verk på denne siden.
Self-portrait, Head of Charles IV og Selvportrett er blant de 3 verkene på denne siden som er i St. Vitus-katedralen, Köln sin samling.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
In the heart of the Late Middle Ages, a period defined by soaring spires and profound devotion, Peter Parler emerged as one of the most influential architects and sculptors of his era. Born into a distinguished dynasty of master builders, he carried the weight of tradition while simultaneously forging a new, expressive language for European architecture. Known variously as Peter von Gemünd or Petr Parléř, his identity was inextricably linked to the Parler family, a lineage of craftsmen whose influence stretched across much of Central Europe. His journey began in the town of Schwäbisch Gmünd, Germany, where he received his early training, eventually leading him to work at significant medieval building sites including Strasbourg, Cologne, and Nuremberg.
The trajectory of Parler’s career reached its zenith when he moved to Prague, the capital of the Kingdom of Bohemia. Here, under the patronage of the Holy Roman Empire, he was able to realize a vision of architectural grandeur that would define the skyline of the city for centuries. His work at St. Vitus Cathedral stands as his most enduring legacy, a monumental achievement where he utilized complex networks of ribbed vaults to create an interior that seems to defy gravity. Through his engineering brilliance, the heavy stone walls appear light and ethereal, allowing for expansive windows that transform the cathedral into a vessel for celestial light.
Parler was not merely a builder of structures but a sculptor of profound emotional depth. His ability to breathe life into cold stone allowed him to bridge the gap between the rigid forms of earlier Gothic traditions and a more naturalistic, human-centric approach. This mastery is perhaps most intimately captured in his Self-Portrait, an evocative piece that offers a rare glimpse into the artist's own contemplative soul. In this work, one can observe the meticulous craftsmanship required to render the subtle textures of hair and the serene expression of a man deeply engaged with both his faith and his craft.
His sculptural contributions often complemented his architectural feats, creating a unified aesthetic experience within the sacred spaces he designed. Notable works such as the Head of Charles IV demonstrate his ability to capture individual character and royal dignity through the Late Gothic style. His achievements were not isolated incidents but part of a broader movement of artistic innovation that saw:
Through his hands, the stone became a chronicle of history, an enduring testament to the skill of the Parler family. His life's work remains etched in the very fabric of Europe, serving as a bridge between the medieval world and the burgeoning complexities of the later centuries.