Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 1 teost Max Pietschmann meie kataloogis
Lühidalt
Max Pietschmann kõige tuntum teos on Adam and Eve (1894). See asub Praha linnas Rahvuslik Galerii Praha muuseumis. Meie kataloogist leiate 1 teost kunstnikult Max Pietschmann; see juhend koondab 1 kõige tuntumat teost koos aastakuga, muuseumiga ja iga teose ajaloolise luguga.
Muuseum, milles on kõige rohkem sellel lehel esitatud teoseid.
| Muuseum | Linn | Max Pietschmann teosed | Selle nimekirja maalid |
|---|---|---|---|
 Rahvuslik Galerii Praha |
Praha | 1 | Adam and Eve |
Sellel lehel olevad Max Pietschmann teosed on kõik aastast 1894. Siin on need kubus kulu ja populaarsuse järjekorras.
Vali aasta, et näha selle aasta teoseid.
Nimekirja tipis on Adam and Eve (1894).
29 aastat vanus. Max Pietschmann sündis aastal 1865 ning teos Adam and Eve pärineb aastast 1894.
Meie kataloogist leiate 1 teost kunstnikult Max Pietschmann.
Enamik neist on leetav Rahvuslik Galerii Praha (Praha). Ülemal oleval muuseumite ninal on täielik ülevaade.
Jah. Iga maal on sellel lehel saadav kas käsitsi maalitud õlimaalina või trükkina, teile sobivas suuruses. Tellimiseks avage maali oma leht.
Ernst Max Pietschmann lived much of his life within the quiet landscapes and academic circles of Dresden, Germany. Born on August 6, 1865, he began his formal training at the Dresden Academy of Fine Arts, where he studied under Leon Pohle and Ferdinand Pauwels between 1883 and 1889. His path took him far beyond the borders of his home city, including two years spent in Italy alongside Hans Unger and time spent at the Académie Julian in Paris, focusing largely on the study of nude drawing.
He eventually returned to the familiar surroundings of Saxony, becoming part of the painters' colony in Goppeln. This group focused on plein air painting, capturing the light of the natural world directly from the landscape. In 1904, he moved into a studio house built in an Italian style in Niederpoyritz, where he remained until his death in 1952. His professional life was deeply tied to the Dresden Academy, where he was appointed as a professor in 1909.
Pietschmann’s work is often identified with the German Symbolist movement. He did not follow the later shifts toward Expressionism or New Objectivity that emerged during and after the First World War. Instead, his paintings remained connected to a tradition shared by artists like Max Klinger and Arnold Böcklin. His repertoire frequently explored mythological themes and the human form.
Some of his notable works include:
Under the pseudonym Fr. Laubnitz, he produced pictures that found a wide audience as mural prints during the first half of the twentieth century. This side of his practice allowed his imagery to enter many homes through more accessible formats.
Throughout his career, Pietschmann was part of a group of artists known as the "phalanx of the strong," which included figures such as Oskar Zwintscher and Richard Müller. This group represented the artistic pulse of Dresden at the turn of the century. His presence in the Visual Artists' Association of Dresden helped define the local secession movement.
Today, much of his physical and creative output is preserved within German institutions. His paintings can be found in the following locations:
He passed away on April 16, 1952, and was laid to rest in the Hosterwitz Cemetery in Dresden, leaving behind a body of work that remains anchored in the traditions of his era.
