Slika koja je proslavila Daniel Koerner je West Side Ramp (1938); nalazi se u muzeju Smithsonian American Art Museum, Vašington, D.C.. Od 2 dela umetnika Daniel Koerner u našem katalogu, ovih 2 su najcenjenija, a svako je predstavljeno sa datumom nastanka, muzejom i onim što ga izdvaja.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano новембар 2026.
2 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzeji | Grad | Radovi umetnika Daniel Koerner | Slike iz ovog spiska |
|---|---|---|---|
 Smithsonian American Art Museum |
Vašington, D.C. | 1 | West Side Ramp |
 Metropoliten музеј у Њујорку |
Њујорк | 1 | Farm in Moonlight |
Svako datirano remek-delo umetnika Daniel Koerner na ovoj stranici pripada godini 1938: evo ih.
West Side Ramp (1938)
29 godina: West Side Ramp datira iz 1938, a Daniel Koerner je rođen/a 1909.
Naš katalog sadrži 2 dela umetnika Daniel Koerner.
Većina njih se nalazi u Smithsonian American Art Museum (Vašington, D.C.) i Metropoliten музеј у Њујорку (Њујорк). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1938: 2 od ukupno 2 dela na ovoj stranici datiraju iz tog vremena, od čega je West Side Ramp.
Daniel Koerner lived a life defined by the intersection of visual expression and social advocacy. Born in 1909, he moved through the mid-century American art scene not merely as a painter, but as a cartoonist and an active participant in the labor movements of his time. His work was often inseparable from the political climate of the era, reflecting the tensions and the organized efforts of artists seeking stability and recognition during the Great Depression.
His involvement in the Federal Arts Project was a defining chapter. Through his correspondence and manuscripts, we see a man deeply engaged with the mechanics of artistic survival. He was part of the complex discussions surrounding the Woodrum relief bill and the support for the Federal Arts Bill, navigating the precarious waters of government-sponsored art and the rights of the creators themselves.
Koerner’s output was diverse, spanning the delicate precision of illustration to the broader strokes of painting. As a cartoonist, he possessed a keen ability to distill complex social realities into singular, impactful images. This skill made him a natural fit for the burgeoning movements of artist unions and international organizations that sought to unify the creative community.
His legacy is found as much in his advocacy as in his aesthetics. He was a figure in the Artists' Union and the Artists League of America, contributing to the discourse on how artists should exist within a modern society. His papers reveal a man who understood that the brush and the pen were tools for both personal expression and collective action.