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Italian Landscape with Pines
Rukom oslikana uljana reprodukcija od $181 36 × 28 cm
Isti veličine kao original $228 56 × 45 cm Naručite u originalnim dimenzijama →
Italian Landscape with Pines (1809) je najpoznatije delo umetnika Simon Warnberger, koje se nalazi u muzeju Bavarske državne slikopisne kolekcije u gradu Minhen. Monastery in Southern Landscape (1807) i Group of Trees in Mountainous Landscape with Castell (1807) su sledeća dva dela koja svet najbolje poznaje. Od 9 dela umetnika Simon Warnberger u našem katalogu, izdvajamo ovih 9 koja kolekcionari i posetioci muzeja najčešće posmatraju, uz navođenje godine, muzeja i priče o svakom od njih.
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.
2 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Simon Warnberger | Slike iz ovog spiska |
|---|---|---|---|
 Bavarske državne slikopisne kolekcije |
Minhen | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
Minhen | 1 | Foothill Landscape |
Simon Warnberger je stvarao 21 godina, od 1807 do 1827: evo pregleda te dugog karijere godinu po godinu, kroz njegove najpoznatije slike.
Italian Landscape with Pines (1809), Bavarske državne slikopisne kolekcije, Minhen. Sledeći su Monastery in Southern Landscape (1807) i Group of Trees in Mountainous Landscape with Castell (1807).
40 godina: Italian Landscape with Pines datira iz 1809, a Simon Warnberger je rođen/a 1769.
Naš katalog sadrži 9 dela umetnika Simon Warnberger, datiranih od 1807 do 1827.
Većina njih se nalazi u Bavarske državne slikopisne kolekcije (Minhen) i Lenbachhaus (Minhen). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1807: 4 od ukupno 9 dela na ovoj stranici datiraju iz tog vremena, od čega je Monastery in Southern Landscape.
Najstarije delo na ovoj stranici je iz Monastery in Southern Landscape (1807), a najnovije iz Foothill Landscape (1827).
Italian Landscape with Pines, Monastery in Southern Landscape i Group of Trees in Mountainous Landscape with Castell su među 8 dela na ovoj stranici koja se nalaze u Bavarske državne slikopisne kolekcije, Minhen.
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.
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.