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Johannes Hellner
Ročno slikana oljna reprodukcija od $181 29 × 34 cm
Velikost kot pri originalu $286 59 × 75 cm Naročite v originalni velikosti →
Johannes Hellner (1940) je najbolj znano sliko avtorja Simon Gate, ki se nahaja v muzeju Nationalmuseum v mestu Stockholm. Od 1 del umetnika Simon Gate v našem katalogu so tu tista 1, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Simon Gate | Slike iz tega seznama |
|---|---|---|---|
 Nationalmuseum |
Stockholm | 1 | Johannes Hellner |
1940 je leto vsakega datiranega mojstrovine umetnika Simon Gate na tej strani: tukaj so, razvrščeni po slavi.
Johannes Hellner (1940)
57 let: delo Johannes Hellner iz leta 1940, pri čemer je Simon Gate rodil/a v 1883.
V našem katalogu je na voljo 1 del avtorja Simon Gate.
Večina njih se nahaja v Nationalmuseum (Stockholm). Zgornja tabela navaja muzeje posamezno.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
Born in Hjo, Sweden, on 10 March 1883, Simon Gate was the son of a farmer who would eventually find his calling not in the soil, but in the delicate manipulation of light and silica. His path led him from the rural landscapes of Skaraborg to the rigorous studios of Stockholm, where he studied at the National College of Art, Craft, and Design and the Royal Swedish Academy Art School. These formative years provided the technical foundation for a career that would redefine Swedish glassmaking.
In 1916, Gate joined the Orrefors glassworks, an affiliation that would span three decades. He was more than a mere designer; he was an artisan and sculptor who understood the physical weight of his medium. Alongside collaborators such as Edvard Hald, Knut Bergqvist, and Erik Tidstrand, he helped transform Orrefors into a center of international importance. His work often featured neo-classical figures engraved with an Art Deco sensibility, bringing a sense of structured elegance to functional objects.
The most significant technical achievement of Gate’s career arrived around 1920 with the development of the Graal technique. Created in collaboration with Hald and Bergqvist, this method was an intricate dance of heat and precision. The process involved encasing a thick transparent glass core within a thin, colored coating, which was then cut away to reveal a design before being re-encased in clear glass. This method allowed for internal ornamentation—often featuring flowers or human figures—to appear suspended within the vessel.
This technique, derived from earlier work with cameo glass, produced pieces that were both heavy and ethereal. The name itself, reminiscent of a legendary chalice, reflected the elusive beauty of the finished product. Beyond these complex sculptures, Gate’s repertoire included:
Gate’s influence reached far beyond the borders of Sweden. In 1925, his work earned him a Grand Prix at the Exposition des Arts Décoratifs et Industriels Modernes in Paris, a moment that solidified his standing among the leading designers of his era. His sculptural sensibilities even found a place on the global stage, as his work was featured in the art competitions of the 1932 and 1936 Summer Olympics.
The precision of his designs—ranging from delicate goblets in soft hues to heavy-walled bowls—left a permanent mark on the history of decorative arts. He remained connected to the Orrefors glass factory until his death in Orrefors, Sweden, on 11 May 1945. He left behind a body of work that remains held in major museum collections, representing a period when Swedish glass reached its most sophisticated heights.