Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 2 obras de Wilhelm Eberhardt em nosso catálogo
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A pintura número um de Wilhelm Eberhardt é Foggy mood Hamburg harbor (1923). Nosso catálogo contém 2 obras de Wilhelm Eberhardt. Os 2 listados aqui são as mais famosas, em ordem de classificação, com o ano e o museu de cada original.
1923: cada pintura de Wilhelm Eberhardt datada nesta página é desse ano. Aqui estão elas, por ordem de classificação.
Selecione um ano para ver as suas pinturas.
Foggy mood Hamburg harbor (1923) ocupa o primeiro lugar.
Wilhelm Eberhardt tinha 48 anos: Foggy mood Hamburg harbor é datada de 1923, e Wilhelm Eberhardt nasceu em 1875.
2 obras de Wilhelm Eberhardt estão em nosso catálogo.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão ou como uma impressão. Abra a pintura, escolha o tamanho e faça o seu pedido.
Born in Hamburg in 1875, Wilhelm Eberhardt was a product of the German maritime atmosphere. His early years were defined by the rigorous training of the Kunstgewerbeschule in his home city, a foundation that would later support his professional endeavors. He sought further refinement in Berlin, studying at the Unterrichtsanstalt des Kunstgewerbemuseums under the guidance of M. Seliger. This period of education provided him with the technical precision required for both draftsmanship and painting.
His professional life was deeply intertwined with the civic identity of Hamburg. He achieved a significant milestone when he served as an assistant to Hugo Vogels, contributing to the murals within the festival hall of the Hamburg City Hall. This involvement in public art suggests a man deeply embedded in the visual fabric of his community, working on a scale that moved beyond the private canvas to the very walls of the city's administrative heart.
Eberhardt’s work often returned to the atmospheric qualities of his surroundings. His paintings frequently captured the specific light and mood of the northern German landscape, particularly the maritime environments that defined his upbringing. His technical approach was characterized by a disciplined hand, a trait likely honed during his years as a draftsperson.
The following elements characterize his documented output:
His ability to translate the heavy, shifting air of the harbor into a visual medium allowed him to document the changing face of Hamburg. Whether working on large-scale murals or smaller, intimate studies of the Altstadt, his focus remained on the intersection of architecture and atmosphere.
The later years of Eberhardt's life remain a subject of some historical ambiguity. While some records suggest he passed away in 1940, other accounts place his death between 1943 and 1946. This uncertainty reflects the turbulent era in which he lived, a time that often obscured the personal histories of many artists. Regardless of the exact year, his presence in the German art scene was marked by a commitment to the visual language of his home city.
