Aktualizováno listopad 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 53 děl umělce Lothar Von Seebach v našem katalogu
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Marchand à la jambe de bois Hausierer (Titre attribué) je obraz autora Lothar Von Seebach, který přitahuje nejvíce pohledů. Poté se zrak přesouvá k Forêt en hiver a The Stonemasons (1887). Z 53 děl umělce Lothar Von Seebach v našem katalogu je těchto 53 těch nejznámějších; každé z nich je unikátním originálem s uvedením roku vzniku, muzea a důvodu jeho nesmrtelnosti.
A weathered woodcutter dominates the frame, his presence defined by a quiet, heavy dignity. He carries a wooden box, a tool of his trade, while his clothing and skin bear the textures of a life spent outdoors. The composition centers on this solitary figure, capturing a moment of stillness amidst the realities of manual toil. Earthy tones of ochre, brown, and muted green establish a somber, grounded atmosphere.
The air feels heavy and still in this winter forest scene. A hillside rises from the lower left, climbing toward the upper right in a steady, diagonal sweep. Fallen leaves, rendered in deep oranges and reddish-browns, carpet the ground, creating a textured surface that suggests the crunch of frost-nipped foliage underfoot. Bare trees stand as slender, vertical sentinels, their trunks a pale gray that cuts through the warmth of the…
The Stonemasons is an oil painting by the artist Lothar Von Seebach. Created about 1887, this work depicts a scene centered on manual labor and craftsmanship. The composition focuses on the physical efforts of workers engaged in the shaping and movement of stone.
In Old Men's Home in Saint-Marc, Lothar Von Seebach employs a medium shot to capture a communal dining scene. The perspective is slightly elevated and viewed from a side-angle, emphasizing the structural depth of the institutional room. Receding lines from the ceiling beams and the long wooden tables draw the eye toward the background, establishing a sense of spatial recession. The shapes within the composition remain soft and blurred, avoiding…
The air feels heavy and still, thick with the weight of an overcast sky that refuses to break. Under this muted, grey-blue canopy, two figures sit amidst a landscape that seems to hold its breath. A man and a woman, stripped of everything but their skin and the earth beneath them, occupy the center of this quiet world. The woman sits in the foreground, her back turned to us, her…
Les Tailleurs de pierre
12
La Dame en noir
13
Portrait de jeune femme
14
Alexander Dominicus, Maire de Berlin SchönebergNational Portrait Gallery
15
Portrait du maire Back
16
Femme couchée
17
Portrait du Docteur Hans PfitznerMusée historique
18
Paysage Baumpflanzer (Titre attribué)
19
Plein air, femme à son balcon
20
Portrait d'Eugénie Landolt
21
Le Savetier
22
Portrait d'une dame
23
Portrait de Mme Céline Schneider, née Sieffert (1843 1906)
24
Portrait d'homme âgé Bildnis Eugène Picard (1823 1893) (Titre attribué)
25
Nu devant la glace
26
Autoportrait Selbstportrait (Traduction)
27
Tête d'étude
28
Autoportrait
29
Portrait du poète Fritz Lienhard
30
Portrait du Dr. Eugène Boeckel
31
Portrait d'homme à la pipe
32
Portrait de Madame Daniel Steinlen née Marthe Ensfelder
33
Forêt en automne
34
Aux ponts couverts (neige)
35
Cour du corbeau, Strasbourg Rabenhof in Strassburg (Titre attribué)
36
Rue de l'Ail, Strasbourg Knoblochgasse in Strassburg (Titre attribué)
37
Aux bords du Rhin
38
Nu féminin de dos
39
Forêt au printemps
40
Chrysanthèmes
41
Bouquet de roses
42
Majoliques et fruits
43
Cour du Corbeau
44
Bouquet de lilas Fliederstrauss (Titre attribué)
45
La TentationMusée d'Art Moderne et Contemporain de Strasbourg
46
Ziegelbrücke, Strasbourg
47
Hortensias
48
Portrait d'Elsa KoeberleMusée d'Art Moderne et Contemporain de Strasbourg
49
Le Brückhof
50
L'Echoppe du cordonnier Schusterwerkstatt (Titre attribué)Musée d'Art Moderne et Contemporain de Strasbourg
51
Portrait de Madame Christian Woerth
52
S'uschénie Mädchen im Gras ( Das Eulalia ) (Titre attribué) Portrait de femme assise (Sous titre)
53
Asile de vieillards à Saint Marc Speisung in Sankt Marx (Titre attribué) Soupe populaire à Saint Marc L'Hospice Saint Marc (Ancien titre)
Čtyři témata, která se v těchto originálech nejčastěji objevují, z nichž každé má svůj nejlepší příklad.
3 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Lothar Von Seebach | Obrazy z tohoto seznamu |
|---|---|---|---|
 Musée d'Art Moderne et Contemporain de Strasbourg |
Strasburg | 8 | The Stonemasons, Old Men's Home in Saint-Marc, Adam and Eve |
 National Portrait Gallery |
Washington, D.C. | 1 | Alexander Dominicus, Maire de Berlin Schöneberg |
 Musée historique |
Strasbourg | 1 | Portrait du Docteur Hans Pfitzner |
Vyberte si dekádu a prohlédněte si originál, který ji definuje.
The Stonemasons is an oil painting by the artist Lothar Von Seebach. Created about 1887, this work depicts a scene centered on manual labor and craftsmanship. The composition focuses on the physical efforts of workers engaged in the shaping and movement of stone.
In Old Men's Home in Saint-Marc, Lothar Von Seebach employs a medium shot to capture a communal dining scene. The perspective is slightly elevated and viewed from a side-angle, emphasizing the structural depth of the institutional room. Receding lines from the ceiling beams and the long wooden tables draw the eye toward the background, establishing a sense of spatial recession. The shapes within the composition remain soft and blurred, avoiding…
The air feels heavy and still, thick with the weight of an overcast sky that refuses to break. Under this muted, grey-blue canopy, two figures sit amidst a landscape that seems to hold its breath. A man and a woman, stripped of everything but their skin and the earth beneath them, occupy the center of this quiet world. The woman sits in the foreground, her back turned to us, her…
Marchand à la jambe de bois Hausierer (Titre attribué). Následují Forêt en hiver a The Stonemasons (1887).
Marchand à la jambe de bois Hausierer (Titre attribué), Forêt en hiver, The Stonemasons, Old Men's Home in Saint-Marc, Adam and Eve, Young Woman by a River, La rue de la Douane à Strasbourg, effet de pluie, Le Manchon noir, Adam et Eve a Nu couché. Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 53 děl umělce Lothar Von Seebach z let 1887 až 1920.
Většinou v Musée d'Art Moderne et Contemporain de Strasbourg (Strasburg), National Portrait Gallery (Washington, D.C.) a Musée historique (Strasbourg). V tabulce muzeí výše jsou vypsány všechny.
V období 1890s: 2 z celkem 53 děl na této stránce vzniklo právě tehdy, z toho Old Men's Home in Saint-Marc z nich.
Na této stránce je nejstarší dílo z The Stonemasons (1887) a nejnovější z Young Woman by a River (1920).
Portraits (11), Woman (6) a Portrait (5) napříč 53 díly na této stránce.
Oil On Canvas, u 4 z 53 děl na této stránce.
Impressionism a Realism, podle originálů na této stránce.
The Stonemasons, Old Men's Home in Saint-Marc a Adam and Eve: muzeum Musée d'Art Moderne et Contemporain de Strasbourg, Strasburg má v obsluze 8 děl z této stránky.
Lothar von Seebach (1853 – 1930) was an Alsatian artist whose canvases breathed life into the picturesque landscapes and vibrant spirit of Strasbourg, cementing his place as a pivotal figure in late nineteenth-century European art. Born in Fessenbach—now part of Off and raised in Mannheim—he descended from a family steeped in military tradition. His father served as a garrison officer, providing Seebach with an early exposure to discipline and keen observation, experiences that would profoundly shape his artistic sensibilities. This foundation of precision and attentiveness became the bedrock upon which he built a career defined by both technical mastery and emotional depth.
Following his formative studies at the Karlsruhe Academy of Fine Arts under the guidance of Ferdinand Keller, Seebach returned to Strasbourg, where he established himself amidst the burgeoning artistic community centered around Saint Léonard’s Square. He was a member of the esteemed Cercle de Saint-Léonard, a group that included notable figures such as Benoît Hartmann and Léo Schnug. Unlike many of his contemporaries who pursued grand commissions or academic prestige, Seebach cultivated a deliberately modest existence. A fiercely independent man, he famously turned down offers of professorships in both Karlsruhe and Strasbourg, choosing instead to prioritize the purity of his craft above all else. He even established his studio within the historic 14th-century Tour de l'Hôpital, physically embedding himself in the architectural heritage he so loved.
Seebach’s artistic journey was one of continuous evolution, fueled by an insatiable intellectual curiosity. His travels across Europe—including extensive excursions to England, Berlin, and Paris—were far more than mere sightseeing; they were essential pilgrimages that allowed him to absorb the shifting tides of modern art. While his early work reflected the academic rigor of his training, he gradually became captivated by the luminous qualities of Impressionism. As his career progressed, he found himself increasingly drawn to the bold, chromatic palettes championed by Fauvist painters like Henri Matisse. This influence breathed a new vitality into his work, characterized by expressive brushstrokes and a daring use of color that transformed simple subjects into vibrant, emotive experiences.
His versatility was one of his greatest strengths, as his prolific output spanned watercolor, oil paintings, and engravings. Whether he was capturing the architectural grandeur of Strasbourg's old city or the delicate petals of a floral arrangement, Seebach possessed a unique ability to convey character and atmosphere. His works often reflect a profound connection to the local landscape and its inhabitants, blending a sense of historical reverence with a modern, energetic aesthetic.
The life of Lothar von Seebach was marked by the shifting borders and political tensions of his era. After World War I, he became a French citizen, yet the professional conflicts of the time led him to briefly leave Alsace in 1921. His wanderings took him to Lake Constance and Frankfurt before he ultimately returned to his beloved Strasbourg, where he lived out his final years. This return to his roots completed a full circle, allowing him to dedicate his remaining strength to the very streets and people that had first inspired his genius.
Today, Seebach is remembered not just as a chronicler of Alsatian life, but as an artist who dared to forge his own path. His historical significance lies in his ability to bridge the gap between traditional academic training and the radical innovations of the early 20th century. Through his eyes, we see a Strasbourg that is both timeless and ever-changing—a city captured in a state of permanent, luminous grace. His legacy survives in every textured oil painting and delicate watercolor that continues to evoke the charm and enduring beauty of the Alsatian spirit.
