Slika, ki je prinesla slavo umetniku Sofie Fohn, je Seated Polish Woman in Costume (painted in Paris 1932) (1933); razpostaja v muzeju Bavarske državne slikopisne zbirke, München. Market in Olevano Romano (1944) in Motif in Villa Adriana, Tivoli (1942) sledeta tem v srcih zbirateljev in obiskovalcev muzejev. Od 21 del umetnika Sofie Fohn v našem katalogu so teh 17 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
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1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Sofie Fohn | Slike iz tega seznama |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 17 | Seated Polish Woman in Costume (painted in Paris 1932), Market in Olevano Romano, Motif in Villa Adriana, Tivoli |
Seated Polish Woman in Costume (painted in Paris 1932) (1933), Bavarske državne slikopisne zbirke, München. Nato sledeta Market in Olevano Romano (1944) in Motif in Villa Adriana, Tivoli (1942).
34 let: delo Seated Polish Woman in Costume (painted in Paris 1932) iz leta 1933, pri čemer je Sofie Fohn rodil/a v 1899.
Seated Polish Woman in Costume (painted in Paris 1932), Market in Olevano Romano, Motif in Villa Adriana, Tivoli, In the Villa Adriana, In the Villa Adriana near Tivoli, Motif in Olevano Romano at the Fountain, Self-Portrait with Fever at the Easel in Kastelruth, Mushroom Still Life on Blue Paper, Garden Flowers in the Enamel Jug in Peach Still Life. Zgornja lestica prikazuje leto in muzej za vsako od njih.
V našem katalogu je navedenih 21 del avtorja Sofie Fohn, datiranih od 1933 do 1965.
Večina njih se nahaja v Bavarske državne slikopisne zbirke (München). Zgornja tabela navaja muzeje posamezno.
V obdobju 1940s: 10 od 17 del na tej strani izvira iz tega obdobja, med katerimi je Market in Olevano Romano.
Najstarejšo delo na tej strani je iz Seated Polish Woman in Costume (painted in Paris 1932) (1933), najnovejše pa iz Flowers in Blue Glass Vase (1965).
Seated Polish Woman in Costume (painted in Paris 1932), Market in Olevano Romano in Motif in Villa Adriana, Tivoli so med 17 dela na tej strani, ki jih hrani Bavarske državne slikopisne zbirke, München.
Born in Munich, Germany, in 1899, Sofie Fohn lived through a century of profound transformation. While many remember the era for its political upheaval, her life was deeply intertwined with the quiet, persistent act of preserving culture. She was a painter, but her legacy is also defined by her role as an art collector alongside Emanuel Fohn. Together, they navigated a period where art was often caught in the crosshairs of ideology, working to protect works that were at risk of being lost to history.
Her connection to the city of Munich remained a constant thread throughout her life. It was a place of deep artistic tradition, and she moved through its spaces as both a creator and a guardian of the visual arts. By the time she passed away in 1990, she had seen the world change many times over, yet her commitment to the survival of art remained steady.
The work of Sofie Fohn extended beyond the canvas. During a time when many modern works were being seized or sold off under political pressure, she and Emanuel Fohn made a deliberate choice to intervene. They sought out pieces that were being marginalized, using their resources to ensure these works remained in safe hands. This was not merely a hobby; it was a response to the instability of the era.
Their efforts resulted in a significant collection that eventually found its way into public hands. This collection included a variety of media and formats, such as:
In 1964, a portion of this collection was donated to the Bavarian State Painting Collections. This gift ensured that the works they had rescued would be available for others to see, moving from private protection into the public light.
The significance of Sofie Fohn lies in the intersection of her own creative life and her dedication to the survival of art. By collecting works that were threatened by totalitarianism, she helped maintain a link to the modern movements that might otherwise have been erased. Her life reflects a quiet resistance, found in the simple, necessary act of keeping art alive for the next generation.
