Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 3 teost Anton Ebert meie kataloogis
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Anton Ebert teosete seas on number üks Self-Portrait (1889). Meie kataloogist löytyb 3 teost kunstnikult Anton Ebert. Siin loeteldud 2 teost on kõige kuulsamad, järjestatud tähtsuse järgi, koos iga originaali aasta ja muuseumiga.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Anton Ebert teosid | Selle nimekirja maalid |
|---|---|---|---|
 Berlinische Galerie |
Berliin | 1 | Female Semi-Nude |
1889: kõik sellel lehel olevad Anton Ebert maalid on sellest aastast. Siin on need rangast järjekorrast.
Valige aasta, et näha selle aasta teoseid.
Self-Portrait (1889) on esikkohal.
Anton Ebert oli 44 aastat vanus: teos Self-Portrait on pärinev aastast 1889 ning Anton Ebert sündis aastal 1845.
Kataloogist leiate 3 teost kunstnikult Anton Ebert.
Peamiselt Berlinische Galerie (Berliin). Täielik nimekiri on esitatud ülalpool olevas muuseumide tabelis.
Jah. Kõik sellel lehel olevad maalid on tellitavad nii käsitööna valminud õlimaalide reproduktsioonina kui ka trükkina. Avage maali, valige suurus ja esitage tellimus.
Anton Ebert entered the world in 1845 at Kladrau Castle near Mies, Bavaria. His early years were shaped by the structured surroundings of the Windisch-Graetz family estate, where his father served as the royal treasurer. This childhood setting provided a foundation for a life that would eventually span several European cultural centers.
His path as an artist led him from the Prague Academy to the studios of Vienna. It was there that he studied under Ferdinand Georg Waldmüller, an instructor whose approach to subject matter and palette left a lasting mark on his technique. While his roots were in Bohemia, Ebert’s movements took him through Berlin and eventually into the heart of Russia around 1870. This migration allowed him to observe a wide variety of lives, from the aristocratic circles of the Imperial family to the rural populations of the Russian countryside.
He spent his final years in Vienna, where he passed away on 16 June 1896. His life was defined by this movement between different landscapes and social strata.
Ebert’s work focused heavily on the human figure, particularly children and women. He possessed a particular skill for capturing the textures of daily existence, whether through the heavy fabrics of a peasant's clothing or the delicate details of a formal portrait. His paintings often documented specific cultural identities, such as the traditional folk attire found in his 1879 work, Girl in Folk Costume.
His approach to painting was grounded in realism and a meticulous attention to detail. He used oil on canvas and panel to render skin, fabric, and light with great precision. While some of his portraits leaned toward the classical, others captured more intimate, everyday scenes:
In works like The Mellon Seller, he applied a realistic style to depict a young woman with watermelons, focusing on the physical reality of the scene. He also drew from his own memories of Kladrau Castle to create scenes involving children, often using the family members of the Windisch-Graetz house as models.
Ebert’s significance lies in his role as a documentarian of 19th-century life. Through his portraits and genre paintings, he recorded the customs, costumes, and faces of a period undergoing rapid change. His ability to move between the formal requirements of portraiture for royalty and the honest depiction of ordinary people allowed him to create a broad visual record of his era.
His pieces are held in various collections across Europe, including the Museum of Vienna, the Roumianzeff Museum in Moscow, and the Mainz Art Gallery. These works remain as physical links to the social structures and regional identities of the late 1800s.
