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First Communion
Rukom oslikana uljana reprodukcija od $481 37 × 27 cm
Isti veličine kao original $1556 222 × 166 cm Naručite u originalnim dimenzijama →
Slika koja je proslavila Max Fleischer je First Communion (1886); nalazi se u muzeju Berlinische Galerie, Berlin. Hall for Inhale (1888) i Marble Quarries of Carrara (1894) slede nakon njih u srcima kolekcionara i posetilaca muzeja. Od 7 dela umetnika Max Fleischer u našem katalogu, ovih 7 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. Svako remek-delo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejskog kvaliteta ili kao umetnička štampa, u dimenzijama koje odaberete.
1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Max Fleischer | Slike iz ovog spiska |
|---|---|---|---|
 Berlinische Galerie |
Berlin | 7 | First Communion, Hall for Inhale, Marble Quarries of Carrara |
First Communion (1886), Berlinische Galerie, Berlin. Sledeći su Hall for Inhale (1888) i Marble Quarries of Carrara (1894).
25 godina: First Communion datira iz 1886, a Max Fleischer je rođen/a 1861.
Naš katalog sadrži 7 dela umetnika Max Fleischer, datiranih od 1886 do 1920.
Većina njih se nalazi u Berlinische Galerie (Berlin). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1880s: 2 od ukupno 7 dela na ovoj stranici datiraju iz tog vremena, od čega je First Communion.
Najstarije delo na ovoj stranici je iz First Communion (1886), a najnovije iz Portrait of Madame Fleischer (1920).
First Communion, Hall for Inhale i Marble Quarries of Carrara su među 7 dela na ovoj stranici koja se nalaze u Berlinische Galerie, Berlin.
Da. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu muzejskog kvaliteta ili kao umetnički print, u veličini koju odaberete, direktno sa stranice te slike.
Born on 4 July 1861 in Lipine in Oberschlesien, within the Kingdom of Prussia, Max Fleischer was a man of dual passions. While he would eventually become a noted bryologist, his early years were defined by the pursuit of visual expression. He sought out art classes in Breslau, where he honed his technical skills and eventually qualified as an art teacher in 1881. This foundational training provided him with the discipline required to observe the natural world with precision.
His hunger for knowledge and skill did not end in his home regions. Max Fleischer traveled to Munich and Paris to further his studies, seeking to expand his understanding of form and light. It was during these formative years in the great centers of European art that his interests began to shift. The curiosity that drove him to study the nuances of a brushstroke would soon find a new direction as his fascination with the natural sciences began to grow alongside his artistic training.
In 1892, his curiosity led him away from the art studios of Europe toward the rugged landscapes of Zurich, where he sought to master the study of geology. This scientific hunger eventually drew him toward the tropics. In the late 1890s, an invitation from the botanist Melchior Treub brought him to Java, not merely as a traveler, but as an illustrator tasked with capturing the natural world. While he fulfilled his duties as an artist, he became deeply immersed in the island's biological secrets, collecting regional botanical specimens and conducting meticulous investigations into the various mosses that clung to the humid terrain.
Life in the Dutch East Indies offered him more than just scientific data; it provided a new way to see color and form. During his time there, he mastered the traditional technique of creating batik prints using dyes derived from plants. This immersion in local craft and nature shaped his perspective before he set out on a vast circuit of exploration. He traveled through New Guinea, the Bismarck Archipelago, Australia, and New Zealand, eventually crossing into South America before finally returning to Germany in 1903.
The pull of the tropics was not easily broken. Between 1908 and 1913, he returned to Maritime Southeast Asia to further his botanical pursuits. During these years, his focus sharpened on the smaller wonders of the forest, as he sought out orchids, fungi, and a vast array of bryophytes across the islands of Java.
The pull of the natural world eventually led him from the studio to the halls of formal science. In 1914, he began his work at the botanical museum in Berlin, where his dual interests in illustration and the intricacies of plant life began to merge into a singular pursuit. His dedication to the study of mosses and other botanical specimens was recognized by his peers, and by 1917, he was appointed a professor of botany at the University of Berlin. This position allowed him to formalize his observations of the natural world, turning his keen eye for detail into a rigorous academic discipline.
Even as his academic standing grew, his curiosity remained restless, driving him to seek out new landscapes for study. In 1925, he traveled to the Canary Islands, a trip intended to serve both his artistic sensibilities and his scientific inquiries. There, he sought to paint the scenery while simultaneously conducting investigations into the local mosses. This period of study was a quiet intersection of his two lives, where the brush and the specimen jar were used with equal purpose. By 1926, he had relocated to The Hague, continuing his life of observation and scholarly work until his passing.
The brush of Max Fleischer often moved in tandem with his scientific curiosities, capturing the physical world with a precision born of his dual nature. While much of his life was dedicated to the study of mosses and the intricacies of botany, his hand was equally capable of translating the rugged textures of the earth into oil and pigment. He sought to document the structures of nature, whether they were the delicate forms of a plant or the heavy, fractured surfaces of stone.
One such work that captures this intersection of art and geology is the painting titled Mamorbrüche von Carrara. Created about 1894, this piece, also known as Carrara mamor fractures, reflects a deep interest in the geological formations of the landscape. It is a work that speaks to the fragmentation of the earth, rendered with the observant eye of a man who spent his days studying the very foundations of the natural world. This painting is held within the collection of the Berlinische Galerie, where it remains a quiet witness to his ability to find beauty in the broken and the mineral.