Ažurirano: октобар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 14 dela Daniel Gran u našem katalogu
Ukratko
Slika koju većina ljudi poznaje od umetnika Daniel Gran je Allegory of the Dawn (1723). Odmah nakon toga slede Mary with Child and Saints, Enthroned on Clouds (1730) i Diana's Admission to Olympus (1732). Od 14 dela umetnika Daniel Gran u našem katalogu, ovih 14 su najpoznatija. Svako od njih sadrži godinu nastanka, muzej u kojem se nalazi i kratak opis onoga što ga izdvaja.
3 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Daniel Gran | Slike iz ovog spiska |
|---|---|---|---|
 Nacionalni muzej u Varšavi |
Varšava | 2 | Greeting of Venus at Mount Olympus, Bacchus and Ceres |
 Szépművészeti Múzeum |
Budimpešta | 2 | St Elizabeth Distributing Alms, The Day Driving away the Night |
 Nacionalni muzej u Krakovu |
Krakov | 1 | Apollo with the Muses – Project for a Plafond |
Izaberite deceniju da biste videli njeno najistaknutije delo.
Na vrhu liste je Allegory of the Dawn (1723). Odmah za njim su: Mary with Child and Saints, Enthroned on Clouds (1730) i Diana's Admission to Olympus (1732).
29 godina. Daniel Gran je rođen/a 1694, a delo Allegory of the Dawn datira iz 1723.
Allegory of the Dawn, Mary with Child and Saints, Enthroned on Clouds, Diana's Admission to Olympus, Apollo with the Muses – Project for a Plafond, Allegory of the Happy Government of Mähren, Allegory of the Morning, Instruction of Mary by Joachim and Anna, The Holy Family, Madonna and Child i unleserlich. Godinu i muzej za svako od njih možete pronaći u gornjem spisku.
U našem katalogu imamo 14 dela umetnika Daniel Gran, datiranih od 1723 do 1747.
Većinu njih možete pronaći u Nacionalni muzej u Varšavi (Varšava), Szépművészeti Múzeum (Budimpešta) i Nacionalni muzej u Krakovu (Krakov). Na spisku muzeja iznad nalazi se detaljan pregled.
U 1730s, više nego ikada ranije: 4 od 14 dela na ovoj stranici potiče iz tog vremena, od čega je Mary with Child and Saints, Enthroned on Clouds među njima.
Najstarije delo ovde je Allegory of the Dawn (1723); najnovije je Allegory of the Morning (1747).
Na ovoj stranici možete videti 2 dela u muzeju Nacionalni muzej u Varšavi, Varšava, uključujući Greeting of Venus at Mount Olympus i Bacchus and Ceres.
Da. Svaka slika na ovoj stranici dostupna je kao ručno slikano ulje na platnu ili kao štampa, u veličini koja vam odgovara. Samo otvorite stranicu slike da biste izvršili porudžbinu.
Daniel Gran (1694-1757) was a prominent Austrian Baroque painter who played a crucial role in the transition towards Classicism. His career spanned a period of significant artistic change, and he is remembered for his masterful frescoes, religious scenes, and illusionistic style.
Born in Vienna, Italy in 1694, Daniel Gran came from a family that valued its noble lineage. Successfully asserting his claim to this title was important during his time, as improper use of such distinctions could have severe social consequences. Details regarding his early artistic training remain somewhat scarce, but it is known he developed considerable skill and ambition.
Gran’s initial work firmly rooted in the Baroque tradition, characterized by dramatic compositions, rich colors, and a sense of movement. However, towards the end of his career, his paintings began to exhibit a shift away from purely Baroque aesthetics – particularly in terms of figural dimensions and illusionism. This evolution suggests an increasing interest in the emerging principles of Classicism, emphasizing clarity, balance, and restraint.
While specific influences are not extensively documented, it’s reasonable to assume Gran was impacted by contemporary Italian and Austrian Baroque masters. His later stylistic changes suggest a growing awareness of early Classical art and its emphasis on form and proportion.
Daniel Gran’s significance lies in his role as a bridge between the Baroque and Classical periods. He wasn't merely an imitator of earlier styles but actively contributed to the evolving artistic landscape of 18th-century Austria. His work demonstrates a conscious effort to move beyond the exuberance of the High Baroque towards a more restrained and balanced aesthetic.
Gran’s influence can be seen in the subsequent development of Austrian painting, paving the way for later Classicist artists. In 1894, Vienna honored his legacy by naming the Grangasse street in Rudolfsheim-Fünfhaus (the 15th district) after him. His self-portrait remains a treasured piece within the monastery of Herzogenburg.
Gran’s frescoes continue to captivate viewers with their beauty, technical skill, and historical importance, solidifying his place as a notable figure in Austrian art history.
