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Italian Landscape with Pines
Ročno slikana oljna reprodukcija od $181 36 × 28 cm
Velikost kot pri originalu $228 56 × 45 cm Naročite v originalni velikosti →
Italian Landscape with Pines (1809) je najbolj znano sliko avtorja Simon Warnberger, ki se nahaja v muzeju Bavarske državne slikopisne zbirke v mestu München. Monastery in Southern Landscape (1807) in Group of Trees in Mountainous Landscape with Castell (1807) sta naslednji dve dela, ki jih svet najbolje pozna. Od 9 del umetnika Simon Warnberger v našem katalogu so tu tista 9, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
Uvrščeno na podlagi naše ocene 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.
2 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga Simon Warnberger | Slike iz tega seznama |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
München | 1 | Foothill Landscape |
Simon Warnberger je delal 21 let, od 1807 do 1827: tukaj je ta dolga kariera leta za letom, skozi njegove najbolj znane slike.
Italian Landscape with Pines (1809), Bavarske državne slikopisne zbirke, München. Nato sledeta Monastery in Southern Landscape (1807) in Group of Trees in Mountainous Landscape with Castell (1807).
40 let: delo Italian Landscape with Pines iz leta 1809, pri čemer je Simon Warnberger rodil/a v 1769.
V našem katalogu je navedenih 9 del avtorja Simon Warnberger, datiranih od 1807 do 1827.
Večina njih se nahaja v Bavarske državne slikopisne zbirke (München) in Lenbachhaus (München). Zgornja tabela navaja muzeje posamezno.
V obdobju 1807: 4 od 9 del na tej strani izvira iz tega obdobja, med katerimi je Monastery in Southern Landscape.
Najstarejšo delo na tej strani je iz Monastery in Southern Landscape (1807), najnovejše pa iz Foothill Landscape (1827).
Italian Landscape with Pines, Monastery in Southern Landscape in Group of Trees in Mountainous Landscape with Castell so med 8 dela na tej strani, ki jih hrani Bavarske državne slikopisne zbirke, München.
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.
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.