Oppdatert October 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 4 verk av Peter Parler i vår katalog
Kort svar
Det fremste maleriet av Peter Parler er Self-portrait (1379), hvis original befinner seg i St. Vitus-katedralen, Köln. På andre- og tredjeplass: Head of Charles IV (1375) og Selvportrett (1379). Vår katalog inneholder 4 verk av Peter Parler. De 4 som er oppført her er de mest kjente, i rangert rekkefølge, med årstall og museum for hvert originalverk.
To look upon this relief is to encounter a man caught in a moment of quiet contemplation. Carved from stone around 1379, this bust offers a rare, intimate glimpse into the identity of Peter Parler. He presents himself not as a distant figure of authority, but as a man of flesh and bone, rendered with a startling degree of naturalism. The head is slightly tilted, a subtle movement that breaks…
A heavy silence resides in the gray stone of this bust. The face of Charles IV emerges from the material, a study in rigid dignity and the weight of a crown. Light falls across the brow, catching the deep-set eyes and the sharp, carved lines of a beard that seems to hold the dust of centuries. It is a portrait of a man who shaped a kingdom, rendered in the…
Parler arbejdede primært ved St. Vitus Katedral i Prag, hvilket placerer hans kunstværk direkte i hjertet af middelalderens Centraleuropa. Denne katedral var allerede et imponerende eksempel på gotisk arkitektur før Parler kom til Prag og udførte sine betydelige ændringer og udvidelser. Hans arbejde bidrog væsentligt til Prags kunstneriske arv og cementerede hans position som en af de mest fremtrædende kunstnere i sin tid.
De fire mest fremtredende motivene i denne rangeringen, med det fremste maleriet for hvert av dem.
De 2 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Peter Parler | Malerier fra denne listen |
|---|---|---|---|
 St. Vitus-katedralen |
Köln | 3 | Self-portrait, Head of Charles IV, Selvportrett |
 Vittuskatedralen |
Praha | 1 | Tomb of Ottokar II |
En kort periode på 5 år, fra 1375 til 1379, dekker de daterte Peter Parler-maleriene på denne siden. Se dem år for år.
Velg et år for å se maleriene fra det året.
A heavy silence resides in the gray stone of this bust. The face of Charles IV emerges from the material, a study in rigid dignity and the weight of a crown. Light falls across the brow, catching the deep-set eyes and the sharp, carved lines of a beard that seems to hold the dust of centuries. It is a portrait of a man who shaped a kingdom, rendered in the…
To look upon this relief is to encounter a man caught in a moment of quiet contemplation. Carved from stone around 1379, this bust offers a rare, intimate glimpse into the identity of Peter Parler. He presents himself not as a distant figure of authority, but as a man of flesh and bone, rendered with a startling degree of naturalism. The head is slightly tilted, a subtle movement that breaks…
Andre malerier fra 1379
Self-portrait (1379), St. Vitus-katedralen, Köln, rangerer som nummer én, etterfulgt av Head of Charles IV (1375) og Selvportrett (1379).
Peter Parler var 49 år gammel: Self-portrait er datert 1379, og Peter Parler ble født i 1330.
4 verk av Peter Parler finnes i vår katalog, datert fra 1375 til 1379.
Hovedsakelig i St. Vitus-katedralen (Köln) og Vittuskatedralen (Praha). Se museumstabellen ovenfor for den fullstendige listen.
I 1379: 2 av de 4 maleriene som er rangert her, stammer fra denne tiden, inkludert Self-portrait.
Eldste på denne siden: Head of Charles IV (1375). Nyeste: Self-portrait (1379).
Stone, for 2 av de 4 maleriene rangert her.
St. Vitus-katedralen, Köln har 3 av maleriene som er rangert her, inkludert Self-portrait, Head of Charles IV og Selvportrett.
Ja. Alle malerier på denne siden kan bestilles som en håndmalt oljereproduksjon eller som et trykk. Åpne maleriet, velg størrelse og legg inn din bestilling.
In the heart of the Late Middle Ages, a period defined by soaring spires and profound devotion, Peter Parler emerged as one of the most influential architects and sculptors of his era. Born into a distinguished dynasty of master builders, he carried the weight of tradition while simultaneously forging a new, expressive language for European architecture. Known variously as Peter von Gemünd or Petr Parléř, his identity was inextricably linked to the Parler family, a lineage of craftsmen whose influence stretched across much of Central Europe. His journey began in the town of Schwäbisch Gmünd, Germany, where he received his early training, eventually leading him to work at significant medieval building sites including Strasbourg, Cologne, and Nuremberg.
The trajectory of Parler’s career reached its zenith when he moved to Prague, the capital of the Kingdom of Bohemia. Here, under the patronage of the Holy Roman Empire, he was able to realize a vision of architectural grandeur that would define the skyline of the city for centuries. His work at St. Vitus Cathedral stands as his most enduring legacy, a monumental achievement where he utilized complex networks of ribbed vaults to create an interior that seems to defy gravity. Through his engineering brilliance, the heavy stone walls appear light and ethereal, allowing for expansive windows that transform the cathedral into a vessel for celestial light.
Parler was not merely a builder of structures but a sculptor of profound emotional depth. His ability to breathe life into cold stone allowed him to bridge the gap between the rigid forms of earlier Gothic traditions and a more naturalistic, human-centric approach. This mastery is perhaps most intimately captured in his Self-Portrait, an evocative piece that offers a rare glimpse into the artist's own contemplative soul. In this work, one can observe the meticulous craftsmanship required to render the subtle textures of hair and the serene expression of a man deeply engaged with both his faith and his craft.
His sculptural contributions often complemented his architectural feats, creating a unified aesthetic experience within the sacred spaces he designed. Notable works such as the Head of Charles IV demonstrate his ability to capture individual character and royal dignity through the Late Gothic style. His achievements were not isolated incidents but part of a broader movement of artistic innovation that saw:
Through his hands, the stone became a chronicle of history, an enduring testament to the skill of the Parler family. His life's work remains etched in the very fabric of Europe, serving as a bridge between the medieval world and the burgeoning complexities of the later centuries.
