Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 9 děl umělce Simon Warnberger v našem katalogu
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Mezi obrazy umělce Simon Warnberger je na prvním místě dílo Italian Landscape with Pines (1809), jehož originál se nachází v Bavarské státní sbírky malby, Mnichov. Na druhém a třetím místě: Monastery in Southern Landscape (1807) a Group of Trees in Mountainous Landscape with Castell (1807). Náš katalog obsahuje 9 děl umělce Simon Warnberger. Zde je vybráno 9 nejznámějších děl seřazených podle popularity, včetně roku vzniku a muzea, ve kterém se nachází originál každého díla.
2 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Simon Warnberger | Obrazy z tohoto seznamu |
|---|---|---|---|
 Bavarské státní sbírky malby |
Mnichov | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
Mnichov | 1 | Foothill Landscape |
Obrazy umělce Simon Warnberger na této stránce pokrývají období 21 let, od 1807 do 1827. Prohlížejte je rok po roce.
Vyberte rok a prohlédněte si jeho obrazy.
Italian Landscape with Pines (1809), Bavarské státní sbírky malby, Mnichov, zaužívá první místo, za nímž následují Monastery in Southern Landscape (1807) a Group of Trees in Mountainous Landscape with Castell (1807).
Simon Warnberger byl ve věku 40: dílo Italian Landscape with Pines pochází z roku 1809 a Simon Warnberger se narodil v 1769.
V našem katalogu je 9 děl umělce Simon Warnberger, datovaných od 1807 do 1827.
Primárně v Bavarské státní sbírky malby (Mnichov) a Lenbachhaus (Mnichov). Pro úplný seznam se podívejte do tabulky muzeí výše.
V období 1807: 4 z 9 obrazů zařazených zde pochází z této doby, včetně Monastery in Southern Landscape.
Nejstarší na této stránce: Monastery in Southern Landscape (1807). Nejnovější: Foothill Landscape (1827).
V muzeu Bavarské státní sbírky malby, Mnichov se nachází 8 z obrazů zařazených v tomto žebříčku, včetně Italian Landscape with Pines, Monastery in Southern Landscape a Group of Trees in Mountainous Landscape with Castell.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci nebo jako tisk. Otevřete obraz, zvolte velikost a dokončete objednávku.
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.
