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Italian Landscape with Pines
Reprodução em óleo pintada à mão de $181 36 × 28 cm
Mesmo tamanho da original $228 56 × 45 cm Encomendar no tamanho original →
Italian Landscape with Pines (1809) é a pintura mais famosa de Simon Warnberger, guardada pelo Bavarian State Painting Collections em Munique. Monastery in Southern Landscape (1807) e Group of Trees in Mountainous Landscape with Castell (1807) são as próximas duas obras que o mundo melhor conhece. Dos 9 trabalhos de Simon Warnberger em nosso catálogo, aqui estão os 9 que colecionadores e visitantes de museus mais observam, com o ano, o museu e a história de cada um.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026. Cada obra-prima nesta página pode ser encomendada como uma reprodução em óleo pintada à mão, com qualidade de museu, ou como uma impressão de fine art, no tamanho de sua escolha.
Os 2 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Simon Warnberger | Pinturas desta lista |
|---|---|---|---|
 Bavarian State Painting Collections |
Munique | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
Munique | 1 | Foothill Landscape |
Simon Warnberger trabalhou durante 21 anos, de 1807 a 1827: aqui está essa longa carreira ano a ano, através das suas pinturas mais conhecidas.
Italian Landscape with Pines (1809), Bavarian State Painting Collections, Munique. Seguem-se Monastery in Southern Landscape (1807) e Group of Trees in Mountainous Landscape with Castell (1807).
40 anos: Italian Landscape with Pines data de 1809 e Simon Warnberger nasceu em 1769.
Nosso catálogo lista 9 obras de Simon Warnberger, datadas de 1807 a 1827.
A maioria deles está em Bavarian State Painting Collections (Munique) e Lenbachhaus (Munique). A tabela acima lista os museus um a um.
Em 1807: 4 das 9 obras nesta página datam dessa época, entre elas Monastery in Southern Landscape.
A obra mais antiga nesta página é de Monastery in Southern Landscape (1807), e a mais recente é de Foothill Landscape (1827).
Italian Landscape with Pines, Monastery in Southern Landscape e Group of Trees in Mountainous Landscape with Castell estão entre as 8 obras nesta página pertencentes ao Bavarian State Painting Collections, Munique.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão com qualidade de museu ou como uma impressão de fine art, no tamanho de sua escolha, a partir da própria página da pintura.
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.