Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 9 dzieł Simon Warnberger w naszym katalogu
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Najważniejszym dziełem wśród obrazów Simon Warnberger jest Italian Landscape with Pines (1809), którego oryginał znajduje się w Bawarskie Państwowe Zbiory Malarstwa, Monachium. Na drugim i trzecim miejscu: Monastery in Southern Landscape (1807) oraz Group of Trees in Mountainous Landscape with Castell (1807). Nasz katalog zawiera 9 dzieł autorstwa Simon Warnberger. Wymienione poniżej 9 pozycji to najsłynniejsze z nich, uszeregowane według rangi, wraz z rokiem powstania i muzeum, w którym znajduje się oryginał.
2 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Simon Warnberger | Obrazy z tej listy |
|---|---|---|---|
 Bawarskie Państwowe Zbiory Malarstwa |
Monachium | 8 | Italian Landscape with Pines, Monastery in Southern Landscape, Group of Trees in Mountainous Landscape with Castell |
 Lenbachhaus |
Monachium | 1 | Foothill Landscape |
Obrazy artysty Simon Warnberger na tej stronie obejmują okres 21 lat, od 1807 do 1827. Przeglądaj je rok po roku.
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Italian Landscape with Pines (1809), Bawarskie Państwowe Zbiory Malarstwa, Monachium, zajmuje pierwsze miejsce, a następnie Monastery in Southern Landscape (1807) i Group of Trees in Mountainous Landscape with Castell (1807).
Simon Warnberger miał 40 lat: Italian Landscape with Pines pochodzi z 1809, a Simon Warnberger urodził się w 1769.
W naszym katalogu znajduje się 9 dzieł artysty Simon Warnberger, datowanych od 1807 do 1827.
Głównie w Bawarskie Państwowe Zbiory Malarstwa (Monachium) i Lenbachhaus (Monachium). Pełna lista znajduje się w powyższej tabeli muzeów.
W okresie 1807: 4 z 9 obrazów znajdujących się na tej liście pochodzi z tego czasu, w tym Monastery in Southern Landscape.
Najwcześniejsze na tej stronie: Monastery in Southern Landscape (1807). Najnowsze: Foothill Landscape (1827).
Muzeum Bawarskie Państwowe Zbiory Malarstwa, Monachium posiada 8 z obrazów wymienionych na tej liście, w tym Italian Landscape with Pines, Monastery in Southern Landscape i Group of Trees in Mountainous Landscape with Castell.
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną lub wydruk. Otwórz obraz, wybierz rozmiar i złóż zamówienie.
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.
