Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 9 værker af Simon Warnberger i vores katalog
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Det vigtigste værk blandt Simon Warnberger's malerier er Italian Landscape with Pines (1809), hvis original findes på Bavarian State Painting Collections, München. På anden og tredjepladsen: Monastery in Southern Landscape (1807) og Group of Trees in Mountainous Landscape with Castell (1807). Vores katalog indeholder 9 værker af Simon Warnberger. De 9 værker, der er listet her, er de mest berømte i rangorden, inklusiv årstal og museum for hvert originalværk.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Simon Warnberger | Malerier fra denne liste |
|---|---|---|---|
 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 |
De daterede Simon Warnberger-malerier på denne side strækker sig over 21 år, fra 1807 til 1827. Gennemse dem år for år.
Vælg et årstal for at se dets malerier.
Italian Landscape with Pines (1809), Bavarian State Painting Collections, München, rangerer som nummer ét, efterfulgt af Monastery in Southern Landscape (1807) og Group of Trees in Mountainous Landscape with Castell (1807).
Simon Warnberger var 40 år gammel: Italian Landscape with Pines er dateret 1809, og Simon Warnberger blev født i 1769.
9 værker af Simon Warnberger er i vores katalog, dateret fra 1807 til 1827.
Primært i Bavarian State Painting Collections (München) og Lenbachhaus (München). Se museomtabelen ovenfor for den fulde liste.
I 1807: 4 af de 9 malerier, der er rangeret her, stammer fra den tid, herunder Monastery in Southern Landscape.
Ældste på denne side: Monastery in Southern Landscape (1807). Nyeste: Foothill Landscape (1827).
Bavarian State Painting Collections, München har 8 af de malerier, der er rangeret her, herunder Italian Landscape with Pines, Monastery in Southern Landscape og Group of Trees in Mountainous Landscape with Castell.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion eller som et print. Åbn maleriet, vælg størrelsen og afgiv din bestilling.
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.
