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Evening in the mountains.
Ręcznie malowana reprodukcja olejowa od $181 39 × 25 cm
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Obrazem, który przyniósł sławę August Behrendsen, jest Evening in the mountains. (1843); znajduje się on w Muzeum Narodowe w Warszawie, Warszawa. Z 2 dzieł August Behrendsen w naszym katalogu, tych 2 jest najbardziej podziwianych – każde z nich zostało przedstawione wraz z datą powstania, muzeum oraz cechami wyróżniającymi.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Listopad 2026. Każde arcydzieło na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny, w wybranym przez Ciebie rozmiarze.
Muzeum, w którym znajduje się najwięcej obrazów prezentowanych na tej stronie.
| Muzea | Miasto | Dzieła artysty August Behrendsen | Obrazy z tej listy |
|---|---|---|---|
 Muzeum Narodowe w Warszawie |
Warszawa | 1 | Evening in the mountains. |
Dekada malowania, od 1843 do 1851, była wszystkim, czego potrzebował August Behrendsen: oto jego arcydzieła, rok po roku.
Evening in the mountains. (1843)
24 lat: Evening in the mountains. pochodzi z 1843, a August Behrendsen urodził(a) się w 1819.
Nasz katalog obejmuje 2 dzieł autorstwa August Behrendsen, datowanych od 1843 do 1851.
Większość z nich znajduje się w Muzeum Narodowe w Warszawie (Warszawa). Powyższa tabela zawiera listę muzeów po kolei.
Najwcześniejszy na tej stronie to Evening in the mountains. (1843), najpóźniejszy Region in South Tyrol–Landscape in the Morning Light (1851).
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny w wybranym przez Ciebie rozmiarze, bezpośrednio ze strony danego dzieła.
Born in Magdeburg, Germany, in 1819, August Behrendsen began his path toward a life of color and light in the heart of Prussia. His early years led him to the Prussian Academy of Arts in Berlin, a place where his burgeoning talent for capturing the natural world found its direction. It was there that he studied landscape painting under the guidance of Wilhelm Schirmer, learning to observe the subtle shifts of the environment that would define his later years.
His skill and dedication did not go unnoticed by the academic establishment. In 1845, his reputation grew to the point that he was called to the Königsberg Academy. This appointment brought him to a new landscape, where he began his duties as a teacher. He held this position with distinction, eventually rising to the rank of professor. He remained a central figure at the Königsberg Academy until 1855, shaping the minds of students while refining his own ability to translate the world onto canvas.
His brush sought the quiet majesty of the natural world, finding inspiration in the rugged heights of the Alps and the sweeping landscapes of East Prussia. He spent many years sharing these visions with the public, as his works were regularly featured in Berlin exhibitions between 1844 and 1878. This long-standing presence in the capital allowed his interpretations of the landscape to reach a wide audience, establishing his reputation through the changing decades of the mid-nineteenth century.
In 1856, his focus turned toward the romantic spirit of the Prussian countryside, where he captured the quiet dignity of various estates. He painted the silhouettes of castles that defined the region, including the structures at Dönhoffstädt, Schlobitten, Schloss Friedrichstein, and Schloss Steinort. These works reflected a deep interest in the intersection of architecture and the surrounding terrain. His skill with the watercolor medium was particularly noted, earning him a place in the private collection of Queen Elisabeth of Prussia. His delicate handling of light and form in these smaller works ensured his legacy within the prestigious holdings of the Prussian royal family.
The private life of August Behrendsen was anchored by his marriage to Elise Behrendsen, who was born Elise Dullo. Together, they established a household that would eventually see the birth of two daughters in Königsberg. The first, Hedwig Marie Elise Behrendsen, arrived in 1852, followed a few years later by Gertrud Behrendsen in 1855. These early years in Königsberg provided a stable foundation for his growing professional standing, as the family settled into the rhythms of life in East Prussia.
Tragedy eventually touched the family circle when Elise passed away in Königsberg on November 18, 1879. This loss marked a significant turning point in his personal history. In the years that followed, his life became more nomadic as he moved between different cities. He sought residence in Meran, Wiesbaden, and finally Hildesheim, often living alongside his daughters as he navigated the later chapters of his life.
The steady rhythm of his academic life in Königsberg was disrupted by the onset of a lung disease. This ailment forced him to relinquish his esteemed position in 1869, a year that marked a significant shift in his professional standing. Despite the physical toll of his illness, his reputation within the artistic community remained firm, as he was named an external member of the Prussian Academy of Arts during that same year.
In the years following his departure from the academy, he sought refuge in different locales, living for a time in Meran and Wiesbaden. He eventually settled in Hildesheim, where he spent his final days. He passed away there on April 3, 1886.
The recognition of his talent arrived in many forms throughout his life. In 1862, he was awarded the Great Golden Medal, a distinction that marked his standing among his peers. His influence continued to be felt even after his passing, as seen when the National Gallery in Berlin held a memorial exhibition in 1887 to honor his memory and his contributions to the art of landscape painting.
His legacy is preserved within significant institutions that safeguard the visual history of the region. His watercolors, which captured the romantic essence of Prussian castles, found a permanent home in the collection of the Prussian Palaces and Gardens Foundation Berlin-Brandenburg in Potsdam. These works remain part of a vital historical record held in Potsdam.
Today, his presence in the artistic landscape persists through the accessibility of his creations. Many of his paintings have entered the public domain, allowing his views of the mountains and landscapes to be viewed through digital archives like Artvee. This ensures that his depictions of the natural world remain available to those who seek to study his hand.