Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 9 teosta taiteilijalta Simon Warnberger luettelossamme
Lyhyesti
Jos tunnet yhden Simon Warnberger maalauksen, se on todennäköisesti Italian Landscape with Pines (1809), joka on esillä paikassa Bavarian State Painting Collections, München. Monastery in Southern Landscape (1807) ja Group of Trees in Mountainous Landscape with Castell (1807) täydentävät kolme teosta, jotka tunnistetaan välittömästi. Katalogissamme on 9 teosta taiteilijalta Simon Warnberger. Alla on 9 tunnetuinta teosta vuosilukuineen, sijainteineen sekä tietoineen niiden erityispiirteistä.
Tämän sivun teoksista eniten sisältävät 2 museota.
| Museo | Kaupunki | Simon Warnberger teokset | Tämän listan maalaukset |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
München | 1 | Foothill Landscape |
Simon Warnbergern aikakausien teokset kattavat tässä 21 vuotta, vuodesta 1807 vuoteen 1827. Selaa niitä vuosi vuodelta nähdäksesi kunkin ajanjakson tunnetuimmat teokset.
Valitse vuosi nähdäksesi sen teokset.
Listan kärjessä on Italian Landscape with Pines (1809), Bavarian State Painting Collections, München. Heti sen jälkeen tulevat Monastery in Southern Landscape (1807) ja Group of Trees in Mountainous Landscape with Castell (1807).
40 vuotta. Simon Warnberger syntyi vuonna 1769, ja teos Italian Landscape with Pines on peräisin vuodelta 1809.
Luettelossamme on 9 teosta taiteilijalta Simon Warnberger, aikaväliltä 1807–1827.
Löydät useimmat niistä Bavarian State Painting Collections (München) ja Lenbachhaus (München). Yllä oleva museolista sisältää täydellisen erittelyn.
Ajanjaksona 1807 on merkittävämpi kuin mikään muu: 4 sivun 9 teoksesta on peräisin tuolta ajalta, joista Monastery in Southern Landscape on Monastery in Southern Landscape.
Vanhin teos täällä on Monastery in Southern Landscape (1807); uusin on Foothill Landscape (1827).
Voit nähdä tällä sivulla 8 teosta Bavarian State Painting Collections, München -museossa, mukaan lukien Italian Landscape with Pines, Monastery in Southern Landscape ja Group of Trees in Mountainous Landscape with Castell.
Kyllä. Jokainen tämän sivun teos on saatavilla käsinmaalatun öljyreproosion tai painoksena juuri sinulle sopivassa koossa. Avaa teoksen sivu tilataksesi sen.
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.
