Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 9 del v našem katalogu avtorja Simon Warnberger
Kratek opis
Če poznate eno sliko avtorja Simon Warnberger, je to verjetno Italian Landscape with Pines (1809), ki je razpostavljena v muzeju Bavarske državne slikopisne zbirke, München. Monastery in Southern Landscape (1807) in Group of Trees in Mountainous Landscape with Castell (1807) dopolnjujeta tri dela, ki jih ljudje takoj prepoznajo. Naš katalog vsebuje 9 del avtorja Simon Warnberger. Spodaj je 9 najbolj znanih del, vsako z letom nastanja, informacijo o tem, kje je zasnovano in kaj ga dela posebnega.
2 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga Simon Warnberger | Slike iz tega seznama |
|---|---|---|---|
 Bavarske državne slikopisne zbirke |
München | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
München | 1 | Foothill Landscape |
Delo umetnika Simon Warnberger tukaj obdaja obdobje 21 let, od 1807 do 1827. Pregledajte jih letnik po letniku, z najbolj znanimi dzieji vsakega obdobja.
Izberite leto in oglej njegova dela.
Na vrhu liste je Italian Landscape with Pines (1809), Bavarske državne slikopisne zbirke, München. Takoj za njim sta Monastery in Southern Landscape (1807) in Group of Trees in Mountainous Landscape with Castell (1807).
Starosti 40 let. Simon Warnberger se je rodil(a) leta 1769, njegovo/njino delo Italian Landscape with Pines pa izvira iz leta 1809.
V našem katalogu je 9 del umetnika Simon Warnberger, datiranih od 1807 do 1827.
Večino njih boste našli v Bavarske državne slikopisne zbirke (München) in Lenbachhaus (München). Na seznamu muzejev zgoraj je naveden celoten pregled.
V obdobju 1807, bolj kot koli drugič: 4 od 9 del na tej strani izvira iz tega obdobja, med katerimi je Monastery in Southern Landscape.
Najstarejše delo tukaj je Monastery in Southern Landscape (1807); najsodobnejše je Foothill Landscape (1827).
Na tej strani lahko v muzeju Bavarske državne slikopisne zbirke, München vidite 8 dela, vključno s Italian Landscape with Pines, Monastery in Southern Landscape in Group of Trees in Mountainous Landscape with Castell.
Da. Vsaka slika na tej strani je na voljo kot ročno slikano oljno reprodukcijo ali tiskano kopijo v velikosti, ki vam ustreza. Za naročilo le odprite stran 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.
