Still Life with Green Bowl (1935) je najbolj znano sliko avtorja Hermann Euler, ki se nahaja v muzeju Bavarske državne slikopisne zbirke v mestu München. Od 2 del umetnika Hermann Euler v našem katalogu so tu tista 2, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
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1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Hermann Euler | Slike iz tega seznama |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 2 | Still Life with Green Bowl, Strauss |
1935 je leto vsakega datiranega mojstrovine umetnika Hermann Euler na tej strani: tukaj so, razvrščeni po slavi.
Still Life with Green Bowl (1935)
35 let: delo Still Life with Green Bowl iz leta 1935, pri čemer je Hermann Euler rodil/a v 1900.
V našem katalogu je na voljo 2 del avtorja Hermann Euler.
Večina njih se nahaja v Bavarske državne slikopisne zbirke (München). Zgornja tabela navaja muzeje posamezno.
V obdobju 1935: 2 od 2 del na tej strani izvira iz tega obdobja, med katerimi je Still Life with Green Bowl.
Still Life with Green Bowl in Strauss so med 2 dela na tej strani, ki jih hrani Bavarske državne slikopisne zbirke, München.
Born in Aschaffenburg, Germany, Hermann Euler was the son of Konrad Euler and Meta Hein. His artistic path began in Munich, where he initially pursued painting without formal training before attending the Malschule of Moritz Heymann. He later studied at the Academy of Fine Arts Munich, first in the class of Heinrich von Zügel and subsequently under Angelo Jank, from whom he graduated as a master student in 1927. In 1925, he joined the Künstlervereinigung Münchner Secession. His travels to Norway and France, often accompanied by his wife, the painter Daisy Campi, were significant to his development. In 1934, Euler moved his family from Munich to a farm in Eichbichl am Rinssee. His later years included travels to Italy, Yugoslavia, France, and Spain, until his death in 1970.
Euler’s work evolved from impressionistic subject dissolution toward a cultivated expressive handwriting. His paintings are characterized by a certain rhythm and decisiveness in form, often appearing as if written onto the canvas with a vigorous gesture. He was a skilled draftsman, and in his later years, he frequently utilized a black brushstroke over a more glazing paint application. His technique involved applying oil paint alla prima onto a primed canvas, resulting in surfaces that varied from thick impasto to matte, glazing layers. His subject matter often drew from the immediate surroundings of his farm, including walled cottage gardens and still lifes placed within landscapes, which challenged traditional perceptions of scale and proportion.