Slika koja je proslavila Sofie Fohn je Seated Polish Woman in Costume (painted in Paris 1932) (1933); nalazi se u muzeju Bavarske državne slikopisne kolekcije, Minhen. Market in Olevano Romano (1944) i Motif in Villa Adriana, Tivoli (1942) slede nakon njih u srcima kolekcionara i posetilaca muzeja. Od 21 dela umetnika Sofie Fohn u našem katalogu, ovih 17 su najcenjenija, a svako je predstavljeno sa datumom nastanka, muzejom i onim što ga izdvaja.
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1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Sofie Fohn | Slike iz ovog spiska |
|---|---|---|---|
 Bavarske državne slikopisne kolekcije |
Minhen | 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 kolekcije, Minhen. Sledeći su Market in Olevano Romano (1944) i Motif in Villa Adriana, Tivoli (1942).
34 godina: Seated Polish Woman in Costume (painted in Paris 1932) datira iz 1933, a Sofie Fohn je rođen/a 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 i Peach Still Life. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 21 dela umetnika Sofie Fohn, datiranih od 1933 do 1965.
Većina njih se nalazi u Bavarske državne slikopisne kolekcije (Minhen). U tabeli iznad su muzeji navedeni jedan po jedan.
U periodima 1940s: 10 od ukupno 17 dela na ovoj stranici datiraju iz tog vremena, od čega je Market in Olevano Romano.
Najstarije delo na ovoj stranici je iz Seated Polish Woman in Costume (painted in Paris 1932) (1933), a najnovije iz Flowers in Blue Glass Vase (1965).
Seated Polish Woman in Costume (painted in Paris 1932), Market in Olevano Romano i Motif in Villa Adriana, Tivoli su među 17 dela na ovoj stranici koja se nalaze u Bavarske državne slikopisne kolekcije, Minhen.
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.
