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Samuel Hirszenberg, Female Figure Study, Ben Uri Gallery - Museum. Public domain. Se dette lærred i bevægeligt lys: tegningen, den sande farve under lakken, det rå pigment

Fakta om værket

Kunstner
Samuel Hirszenberg originaluniqueart.com/da/artists/samuel-hirszenberg/
Kunstnerens årstal
1865 – 1908
Oprindelig størrelse
41 x 33 cm
Afholdt hos
Ben Uri Gallery - Museum originaluniqueart.com/da/museums/ben-uri-gallery-museum-london/

I kontekst

Female Figure Study — Samuel Hirszenberg

Hvor stor er den?

Originalen måler 41 × 33 cm (højde × bredde), vist her ved siden af en voksen person af gennemsnitlig højde.

Hvornår er dette maleri sandsynligvis blevet malet?

  1. 1860
  2. 1870
  3. 1880
  4. 1890
  5. 1900

Øverste række: årene. Nederste række: kunstnerens alder ved begyndelsen og slutningen af hver periode — 0 ved fødsel, 43 ved død.

Skyggelagt: Samuel Hirszenberg' livstid (1865–1908) hvert dateret maleri, årti for årti

Der findes ikke et præcist årstal for denne indspilning i arkivet — baseret på kunstnerens levetid og værkets stil, hvilket årti ville du så gætte på?

Sammenlign med

Vælg et af de ovenstående værker: nævn to ting, det har til fælles med dette, og én ting, der er forskellig.

Se flere lignende værker her: originaluniqueart.com/da/art/similar/samuel-hirszenberg-female-figure-study-ARD83R-en/

Farver

Målt ud fra billedet

    Primær farve

    Espresso #322421

    Katalogiseret palet

    • #322421
    • #7D583F
    • #593F31
    • #A67E49

    Disse farver i kunstnerens samlede palet Find andre malerier efter farve

    Farvepalette
    Earthy Den dominerende farvefamilie i billedet.
    Navn på hovedfarve
    Espresso
    Intensitet
    Balanced Hvor mættede og varierede farverne er, fra en enkelt dæmpet nuance til mange klare nuancer.
    Kontrast
    Gentle Hvor meget farverne varierer i lysstyrke og mætning på tværs af billedet.
    Harmoni
    Strong Color Unity Hvor godt farverne spiller sammen, fra kontrasterende til fuldstændig harmoniske.
    Lysstyrke
    Shadow Hvor lyst eller mørkt billedet fremstår samlet set, fra dybe skygger til lyse højlys.
    Mætning
    Balanced Soft Hvor rene og stærke farverne er, fra næsten grå til fuldt livlige.

    Hvor i verden bliver dette maleri set?

    • mindst 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% og derover
    Dette maleri alene har for få registrerede besøgende til at kunne kortlægges, så pladen viser alle værker af Samuel Hirszenberg i løbet af de sidste tolv måneder — 2 lande i alt. Kildehenvisning til disse tal

    De ti førende lande

    1. 1 Kina 80,0%
    2. 2 Holland 20,0%

    Find de tre mørkeste lande på kortet. Findes det museum, der opbevarer dette maleri, i et af dem? Skriv én grund på, hvorfor folk langt væk måske ville se på det.

    De 4 mest viste værker af Samuel Hirszenberg

    1. 1 The Black Banner, 1905 44,4%
    2. 2 Landscape, 1895 22,2%
    3. 3 Female Figure Study dette maleri 22,2%
    4. 4 The Sabbath Rest, 1894 11,1%

    Sammen udgør disse værker 99,9% af den samlede opmærksomhed, som denne kunstners malerier har modtaget i løbet af de sidste tolv måneder. Kataloget indeholder 6 værker af denne kunstner, hvoraf 4 er blevet set mindst én gang. Dette maleri rangerer som nummer 3 af dem med 22,2% af den samlede opmærksomhed. Det samme gælder måned for måned

    Søjlerne måler opmærksomhed, ikke kvalitet. Vælg værket øverst og dette her: nævn én ting, der kan gøre et maleri berømt udover selve det tekniske håndværk.

    Kunstner og museum

    Kunstner

    Samuel Hirszenberg

    Født i Lodz, Poland

    Samuel Hirszenberg: Life and Legacy

    Early Life and Education

    Samuel (Shmuel) Hirszenberg was born on February 22, 1865, in Łódź, Poland, the eldest son of a weaving mill worker.

    Despite his father’s disapproval, he pursued his passion for art with financial assistance from a local doctor.

    He began his artistic training at the Academy of Fine Arts in Kraków at age 15, deeply influenced by the realistic style of Jan Matejko.

    From 1885 to 1889, he continued his studies at the Royal Academy of Arts in Munich.

    Early Career and Recognition

    His early work, “Jeschibah” (1887), garnered significant attention.

    An exhibition at the Kunstverein Munich (1889) led to a silver medal at an art exhibition in Paris.

    He further honed his skills at the Académie Colarossi in Paris, completing his artistic education.

    Return to Poland and Artistic Development

    In 1891, Hirszenberg returned to Poland and settled in Łódź in 1893.

    His early paintings – “Talmudic Studies,” “Sabbath Afternoon,” “Uriel Acosta,” and “The Jewish Cemetery” – initially aligned with the Jewish genre painting tradition of artists like Leopold Horowitz, Isidor Kaufmann, and Maurycy Gottlieb.

    However, his work gradually shifted towards Symbolism, exploring themes of Jewish history and exile.

    Major Works and Themes

    His most renowned paintings from this period include “The Wandering Jew” (1899), “Exile” (1904), and “Czarny Sztandar / Black Flag” (1905).

    He spent over four years creating “The Eternal Jew,” exhibited at the Paris Salon in 1900, but was disappointed by its reception.

    His work often depicted themes of suffering, displacement, and Jewish identity.

    Later Life and Legacy

    Disheartened by the lack of recognition, Hirszenberg took a year-long trip to Italy in 1901 for health reasons.

    In 1904, he moved to Kraków and immigrated to Palestine in 1907.

    He became a lecturer at the newly founded Bezalel School in Jerusalem, headed by Boris Schatz.

    Sadly, Hirszenberg died in Jerusalem on September 15, 1908, after a brief but intense creative period.

    Historical Significance

    Samuel Hirszenberg is recognized as an important figure in Polish-Jewish art, bridging Realism and Symbolism.

    His evocative depictions of Jewish life, history, and exile continue to resonate with audiences today.

    He contributed significantly to the development of early Israeli art through his work at the Bezalel School.

    Museum

    Ben Uri Gallery - Museum

    Udstillet i London, United Kingdom

    A Sanctuary of Untold Narratives

    In the heart of St John’s Wood, tucked away from the frenetic pulse of central London, lies a sanctuary that breathes life into the silenced histories of the diaspora. The Ben Uri Gallery & Museum is far more than a mere repository of canvas and clay; it is a profound testament to the resilience of the human spirit and the transformative power of migration. Founded in 1915 by the Russian émigré artist Lazar Berson, the institution emerged from the vibrant, struggling streets of London’s East End. It was born from a radical necessity: to provide a stage for Jewish immigrant craftsmen and artists who found themselves barred from the prestigious, often exclusionary, mainstream artistic societies of the era. Named after Bezalel Ben Uri, the biblical craftsman of the Ark of the Covenant, the museum carries a legacy of craftsmanship and cultural identity that bridges the ancient world with the modern metropolitan experience.

    To step into the world of Ben Uri is to embark on a journey through the multifaceted tapestry of British visual culture. The collection, an impressive assembly of approximately 1,300 artworks, serves as a window into the souls of those who shaped London from the margins. Here, the brushstrokes of history are visible in every frame, reflecting the joys, traumas, and triumphs of refugee and immigrant communities since 1900. For the discerning collector or the art enthusiast, the museum offers a rare opportunity to encounter works that pulse with raw, authentic emotion—pieces that do not merely depict life but embody the very struggle for recognition and belonging.

    Masterworks of Identity and Light

    The brilliance of the Ben Uri collection lies in its astonishing stylistic breadth, where the boundaries of tradition and modernity constantly collide. One might find themselves captivated by the spiritual intensity of

    Ansel Krut’s

    “The Paschal Lamb,”

    an Expressionist masterpiece that uses fervent color and form to evoke deep theological contemplation. In stark contrast, the museum offers the poignant, atmospheric chronicles of wartime London through the eyes of

    Barnett Freedman

    , whose

    “Soldiers in Town”

    utilizes a vibrant palette to capture the tension and movement of a city under duress. The collection also invites moments of quietude, such as the meticulous, serene coastal landscapes of

    Colin Black

    , which provide a rhythmic breathing space amidst the more turbulent historical narratives.

    Beyond the physical objects, the museum’s true treasure is its ability to weave together the personal and the political. Through curated exhibitions like the exploration of the

    Whitechapel Boys

    or studies on the use of the Crucifixion motif, Ben Uri illuminates how religious and cultural symbols are repurposed by displaced peoples to navigate new landscapes. For interior designers seeking pieces that tell a story, or scholars tracing the lineage of modernism, the museum provides an unparalleled depth of context, proving that art is never created in a vacuum but is always a dialogue with one's heritage.

    A Living Legacy for the Global Citizen

    While its physical home at 108a Boundary Road offers an intimate setting for temporary exhibitions and scholarly discovery, Ben Uri has embraced a digital-first future to ensure its mission transcends borders. The museum’s commitment to accessibility is realized through digitized archives, evocative podcasts, and online exhibitions that bring the stories of émigré artists to a global audience. This forward-thinking approach ensures that the voices of the past continue to resonate in the contemporary digital landscape, making the museum a vital resource for researchers and casual observers alike.

    As the institution continues to seek a larger, more central stage in London to house its expanding permanent collection, its essence remains unchanged. It remains a place of profound intersection—where the history of immigration meets the evolution of British art, and where the individual experience meets the collective memory. For anyone moved by the beauty of the untold story, Ben Uri Gallery & Museum stands as an essential destination, reminding us that the most enduring art is often that which finds its voice in the face of adversity.

    Læs mere her

    Findes online

    QR-kode med link til downloadside for Female Figure Study

    originaluniqueart.com/da/art/download/samuel-hirszenberg-female-figure-study-ARD83R-en/

    Kildehenvisning til dette kunstværk

    MLA
    Hirszenberg, Samuel. Female Figure Study. n.d., Ben Uri Gallery - Museum. https://originaluniqueart.com/da/art/samuel-hirszenberg-female-figure-study-ARD83R-en/
    APA
    Hirszenberg, Samuel (n.d.). Female Figure Study [Painting]. Ben Uri Gallery - Museum. https://originaluniqueart.com/da/art/samuel-hirszenberg-female-figure-study-ARD83R-en/
    Chicago
    Samuel Hirszenberg. Female Figure Study. n.d. Ben Uri Gallery - Museum. https://originaluniqueart.com/da/art/samuel-hirszenberg-female-figure-study-ARD83R-en/
    Harvard
    Hirszenberg, Samuel (n.d.) Female Figure Study. Ben Uri Gallery - Museum. Available at: https://originaluniqueart.com/da/art/samuel-hirszenberg-female-figure-study-ARD83R-en/

    Se nærmere efter

    Female Figure Study — Samuel Hirszenberg

    Se nærmere efter

    Svar med dine egne ord. Der er ingen forkerte svar her – kun svar, som du kan forklare.

    1. Hvad fanger dit øje først, og hvorfor?
    2. Hvilke farver eller former skaber stemningen — og hvad er den stemning?
    3. Se tilbage på The Black Banner (1905) tidligere i denne guide. Nævn to ting, som det har til fælles med dette værk, og én ting, der er forskellig.
    4. Hvad har kunstneren måske ønsket, at du skulle føle?
    5. Hvis du kunne stille kunstneren ét spørgsmål om dette værk, hvad ville det så være?

    Dit svar

    Skriv et kort afsnit om dette kunstværk. Brug fakta fra de tidligere dele af denne guide samt dine svar ovenfor.

    Spørgsmål og svar

    Er farverne i "Female Figure Study" af Samuel Hirszenberg mættede eller dæmpede?

    Farvepaletten i "Female Figure Study" har en mætning på Balanced Soft.

    Hvad er de faktiske mål på "Female Figure Study" af Samuel Hirszenberg?

    Det originale værk "Female Figure Study" af Samuel Hirszenberg måler 41 x 33 cm.

    Hvorfor er ophavsretsstatus for "Female Figure Study" som den er?

    Ophavsretsstatus for "Female Figure Study" – i det offentlige domæne – ophavsretten er udløbet – følger af kunstnerens død i 1908.