更新于 October 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 6 件 Robert Schwede 作品收录于我们的目录中
简而言之
大多数人熟知的 Robert Schwede 作品是《Portrait of Nikolai Monsey (1848)》，您可以在位于 圣彼得堡 的 冬宫博物馆 欣赏到它。 紧随其后的是 Portrait of Konstantin Monsey (1848) 和 Portrait of Admiral Mikhail Lazarev (1845)。 在 Robert Schwede 的 6 件作品中，这 6 件是最广为人知的。每件作品都附有创作年份、馆藏博物馆以及关于其艺术特色的简短介绍。
The man sits in a three-quarter pose, his gaze directed toward the right as if acknowledging a presence just beyond the frame. He wears the heavy, dark fabric of a hussar-style uniform, a garment of deep blues and blacks that absorbs the light. Against this somber void, the gold of his braided aiguillettes catches the lamp, creating rhythmic, metallic curves across his chest. A single white plume rises from his…
The sitter meets the gaze with a quiet, steady authority, his presence filling the space between the viewer and the dark, heavy drapery that frames him. He is a man of status, captured in a moment of stillness that feels heavy with the weight of his station. His military tunic, a deep and commanding scarlet, catches the light, revealing the intricate, braided patterns of hussar-style frogging that run across his…
In this mid-19th-century oil portrait, we encounter Admiral Mikhail Lazarev in a moment of quiet, resolute authority. He is presented in a three-quarter view, seated with arms crossed, a posture that suggests both a settled confidence and a certain stoicism. The composition is framed within an oval shape, drawing the eye immediately to the subject's face and the heavy, gold-braided epaulettes that catch the light. There is a weight to…
The portrait presents Nikolay Ivanovich Lorer, a Major of the Vyatka Infantry Regiment, captured in a three-quarter view against a vast, atmospheric landscape. He is dressed in a formal military-style uniform, where the deep black of the fabric meets a striking red collar, creating a sharp silhouette against the soft, muted tones of the background. The composition places the subject slightly off-center, grounding him within a setting of distant, snow-capped…
The air in the room feels heavy with the weight of command as Admiral Mikhail Lazarev sits before us. He is a man carved from experience, his gaze steady and unyielding, meeting the viewer with the quiet confidence of one who has weathered countless storms. He is draped in the dark, somber navy of his ceremonial regalia, a uniform that speaks of duty and the rigid hierarchies of the mid-19th…
The gaze of Yelena Volkova meets the viewer from within a dark, circular boundary. It is a quiet encounter, captured in 1847. The composition focuses on her bust, centered and still. Soft light falls from the front left, casting gentle shadows that give her face a subtle, three-dimensional weight. Her dark hair curls softly around a face rendered in pale, luminous tones. She wears a garment of deep black, its…
这些作品中最常出现的四个主题，以及各自最著名的代表作。
收藏了本页中大部分画作的 1 家博物馆。
| 博物馆 | 城市 | Robert Schwede 的作品 | 此列表中的画作 |
|---|---|---|---|
 冬宫博物馆 |
圣彼得堡 | 6 | Portrait of Nikolai Monsey, Portrait of Konstantin Monsey, Portrait of Admiral Mikhail Lazarev |
本页面收录了从 1841 年到 1848 年间，Robert Schwede 的所有作品。您可以按年份逐一浏览。
选择年份以查看该年份的作品。
The portrait presents Nikolay Ivanovich Lorer, a Major of the Vyatka Infantry Regiment, captured in a three-quarter view against a vast, atmospheric landscape. He is dressed in a formal military-style uniform, where the deep black of the fabric meets a striking red collar, creating a sharp silhouette against the soft, muted tones of the background. The composition places the subject slightly off-center, grounding him within a setting of distant, snow-capped…
The air in the room feels heavy with the weight of command as Admiral Mikhail Lazarev sits before us. He is a man carved from experience, his gaze steady and unyielding, meeting the viewer with the quiet confidence of one who has weathered countless storms. He is draped in the dark, somber navy of his ceremonial regalia, a uniform that speaks of duty and the rigid hierarchies of the mid-19th…
In this mid-19th-century oil portrait, we encounter Admiral Mikhail Lazarev in a moment of quiet, resolute authority. He is presented in a three-quarter view, seated with arms crossed, a posture that suggests both a settled confidence and a certain stoicism. The composition is framed within an oval shape, drawing the eye immediately to the subject's face and the heavy, gold-braided epaulettes that catch the light. There is a weight to…
The gaze of Yelena Volkova meets the viewer from within a dark, circular boundary. It is a quiet encounter, captured in 1847. The composition focuses on her bust, centered and still. Soft light falls from the front left, casting gentle shadows that give her face a subtle, three-dimensional weight. Her dark hair curls softly around a face rendered in pale, luminous tones. She wears a garment of deep black, its…
The man sits in a three-quarter pose, his gaze directed toward the right as if acknowledging a presence just beyond the frame. He wears the heavy, dark fabric of a hussar-style uniform, a garment of deep blues and blacks that absorbs the light. Against this somber void, the gold of his braided aiguillettes catches the lamp, creating rhythmic, metallic curves across his chest. A single white plume rises from his…
更多来自 1848
榜首之作是Portrait of Nikolai Monsey (1848)，馆藏于冬宫博物馆, 圣彼得堡。紧随其后的是：Portrait of Konstantin Monsey (1848)与Portrait of Admiral Mikhail Lazarev (1845)。
42岁。Robert Schwede出生于1806，其作品Portrait of Nikolai Monsey创作于1848。
我们的目录中共有 6 件 Robert Schwede 的作品，创作时间从 1841 到 1848。
您可以在 冬宫博物馆 (圣彼得堡) 中找到其中的大部分作品。上方的博物馆列表提供了详细分类。
在 1848 时期，作品数量远超其他时期：本页 6 件作品中有 2 件出自该时期，其中包含 Portrait of Nikolai Monsey 件。
此处的早期作品为 Portrait of the Decembrist N.I. Lorer (1841)；最新作品为 Portrait of Nikolai Monsey (1848)。
Man (5), Military uniform (4) 及 Gold embroidery (2)，共计 6 件作品。
Oil On Canvas，共用于本页 6 件作品中的 5 件。
正如您在这些作品中所看到的，Academic realism。
您可以在 冬宫博物馆, 圣彼得堡 的此页面上看到 6 件作品，包括 Portrait of Nikolai Monsey, Portrait of Konstantin Monsey 及 Portrait of Admiral Mikhail Lazarev。
是的。本页面的每幅画作均可根据您的需求，选择手工油画复制品或版画，并提供多种尺寸供您选择。只需打开画作详情页即可下单。
Robert Schwede lived his life within the shifting landscapes of the Baltic region and the Russian Empire. Born in Mõisaküla on 6 December 1806, he was a man of German-Baltic roots who found his professional home in Saint Petersburg. His path was shaped by the rigorous halls of the Imperial Academy of Fine Arts, where he studied the formal traditions of the era. It was here that he earned the title of free artist, a distinction that marked his official entry into the professional art community.
His family connections placed him within a small circle of creators. He was the cousin of Theodore Schwede, another painter associated with the Saint Petersburg Academy. This shared environment of study and practice meant that his early development was deeply rooted in the academic standards of the time. While some historical records suggest he passed away in 1870, others note 1871 as the year his life reached its end.
Schwede focused much of his energy on the study of people and the natural world. He specialized in portraiture and landscapes, using oil on canvas to capture the likenesses of those around him. His work often brought him into contact with the prominent figures of Russian society, including military officers and members of the high aristocracy. One notable example is his portrait of Pavel Petrovitch Melnikov, a man who served as a Major General and played a significant role in the development of the St Petersburg-Moscow railway.
His approach to painting was influenced by the techniques he learned during his training. While he was a contemporary and pupil of Karl Timoleon von Neff, he did not simply mimic the Raphael tradition. Instead, he adopted various methods to document the faces and settings of his era. His portraits, such as the one of Maria Miln held in the Latvian National Art Museum, remain among the most recognizable pieces of his output.
Much of what remains of Schwede's career is found in private collections or scattered across different regions. While many of his over thirty known works are held by the descendants of his family in Russia and Germany, his connection to Latvia remains a central part of his story. He is often remembered as a painter whose work bridged the gap between Baltic and Russian artistic identities.
The difficulty in studying his full body of work arises from the fact that many of his landscapes are known only through photographs. This makes it hard to fully grasp the breadth of his natural scenes. Nevertheless, his ability to capture the presence of historical figures through portraiture ensures his place in the history of nineteenth-century painting.
