Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 21 værker af Eduard von Steinle i vores katalog
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Af alle de originale værker, som Eduard von Steinle efterlod, er det mest berømte Violinist in the Belfry Window (1858), som er en del af samlingen på Städel Museum i Frankfurt. Lige efter følger Madonna del Campidoglio (1841) og Saint Luke painting the Madonna (1842). Vores katalog indeholder 21 værker af Eduard von Steinle; galleriet har bevaret de 21 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
There is a profound sense of isolation in this 1858 oil painting, a quietude that seems to emanate from the very stone of the belfry. We find ourselves looking upward, toward an elevated window where a young man sits, lost in the act of playing his violin. The composition is defined by a strong verticality, drawing the eye from the heavy, weathered masonry of the tower up to the slender,…
The Madonna del Campidoglio is a work of profound stillness by the German painter Eduard Jakob von Steinle. Created in 1841, the painting emerges from the Nazareno movement, a style defined by its pursuit of spiritual purity and sincere devotion. Steinle brings a quiet, disciplined hand to this composition, focusing on the sacred presence of the Virgin and Child within a landscape of ancient stone.
A bearded man sits in profile, his gaze fixed upon a drawing board. This is Saint Luke, caught in the act of translating a divine presence into pigment. To his right, the Virgin Mary watches the Christ Child with a tender, steady gaze. The scene is a study in stillness. The light enters from the upper left, casting soft shadows that give the figures a heavy, three-dimensional weight. Deep reds…
In this 1855 oil on canvas, we find ourselves drawn into a serene, natural landscape that feels both intimate and expansive. The composition centers on the Virgin Mary, whose deep blue mantle and red inner garment provide a grounding weight to the scene. She holds the Christ Child with a gentle grace, while Saint Joseph remains a steady presence to her left. To the right, a young Saint John the…
The air in the studio feels heavy with a quiet, divine purpose. On the left, Saint Luke leans forward, his profile etched with intense concentration as his brush meets the canvas. He is not merely painting; he is attempting to capture the essence of the divine. Across the composition, the Virgin Mary holds the Christ Child, her presence a calm anchor amidst the creative fervor. A heavy brown curtain frames…
The Loreley (Draft) by Eduard von Steinle, created about 1863, features a vertically oriented composition centered on a solitary female figure. This figure is perched upon a jagged, rocky cliffside that rises above a misty body of water. The woman holds a lute in her hands while looking out over the expanse. In the lower right corner, a small, distant figure in a boat provides a sense of scale against…
A sepia-toned stillness settles over the Garden. In this lithograph, the air feels heavy with the scent of damp earth and crushed leaves. Adam stands on the right, a muscular figure defined by the sharp precision of Academic Realism. He holds a branch, his gaze fixed upon the viewer with a somber, heavy expression. To his left, Eve turns her body away, her arms crossed over her chest in a…
This oil self-portrait presents a bust-length view of an older man, positioned slightly off-center. He is turned toward the viewer's right, yet his gaze is directed straight forward. The subject wears a heavy, dark navy or black coat paired with a crisp white high collar. A desaturated green background provides a muted backdrop for the figure. Light enters from the upper left, casting soft shadows across the right side of…
The Lorelei1864 · Sammlung Schack
12
Parzival Cycle1882 · Bavarian State Painting Collections
13
Portrait of Agnes von Steinle the Artist’s DaughterStädel Museum
14
The violin playerBavarian State Painting Collections
15
Marienzyklus
16
From the chronicles of a traveling student
17
Those lucky enough, leads the bride home
18
Snow White and Rose Red
19
The Cologne Domfest on October 3, (1855)
20
Eduard Jakob von Steinle
21
Country priest carries the Viaticum over the mountains
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 5 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Eduard von Steinle | Malerier fra denne liste |
|---|---|---|---|
 Bavarian State Painting Collections |
München | 5 | Madonna del Campidoglio, The Loreley (Draft), Adam and Eve |
 Sammlung Schack |
München | 3 | The Tower Watchman, The Lorelei (detail), The Lorelei |
 Städel Museum |
Frankfurt | 2 | Violinist in the Belfry Window, Portrait of Agnes von Steinle the Artist’s Daughter |
 Staatliche Kunsthalle Karlsruhe |
Karlsruhe | 1 | Saint Luke painting the Madonna |
 Royal Collection |
London | 1 | Saint Luke painting the Virgin |
Vælg et årti for at se det originale værk, der definerer det.
The Madonna del Campidoglio is a work of profound stillness by the German painter Eduard Jakob von Steinle. Created in 1841, the painting emerges from the Nazareno movement, a style defined by its pursuit of spiritual purity and sincere devotion. Steinle brings a quiet, disciplined hand to this composition, focusing on the sacred presence of the Virgin and Child within a landscape of ancient stone.
There is a profound sense of isolation in this 1858 oil painting, a quietude that seems to emanate from the very stone of the belfry. We find ourselves looking upward, toward an elevated window where a young man sits, lost in the act of playing his violin. The composition is defined by a strong verticality, drawing the eye from the heavy, weathered masonry of the tower up to the slender,…
The Loreley (Draft) by Eduard von Steinle, created about 1863, features a vertically oriented composition centered on a solitary female figure. This figure is perched upon a jagged, rocky cliffside that rises above a misty body of water. The woman holds a lute in her hands while looking out over the expanse. In the lower right corner, a small, distant figure in a boat provides a sense of scale against…
This oil self-portrait presents a bust-length view of an older man, positioned slightly off-center. He is turned toward the viewer's right, yet his gaze is directed straight forward. The subject wears a heavy, dark navy or black coat paired with a crisp white high collar. A desaturated green background provides a muted backdrop for the figure. Light enters from the upper left, casting soft shadows across the right side of…
Violinist in the Belfry Window (1858), Städel Museum, Frankfurt. Derefter følger Madonna del Campidoglio (1841) og Saint Luke painting the Madonna (1842).
48 år gammel: Violinist in the Belfry Window er fra 1858, og Eduard von Steinle blev født i 1810.
Violinist in the Belfry Window, Madonna del Campidoglio, Saint Luke painting the Madonna, Holy Family with Christ Child John, Saint Luke painting the Virgin, The Loreley (Draft), Adam and Eve, Self-Portrait, The Tower Watchman og The Lorelei (detail). Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 21 værker af Eduard von Steinle, dateret fra 1841 til 1883.
Primært i Bavarian State Painting Collections (München), Sammlung Schack (München) og Städel Museum (Frankfurt). Museumslisten ovenfor viser dem alle.
I 1850s: 4 af de 21 værker på denne side blev skabt dengang, herunder Violinist in the Belfry Window.
På denne side er det tidligste Madonna del Campidoglio (1841) og det seneste Self-Portrait (1883).
Man (6), Woman (6) og Child (4), fordelt på de 21 værker på denne side.
Oil, for 3 af de 21 værker på denne side.
Madonna del Campidoglio, The Loreley (Draft) og Adam and Eve: Bavarian State Painting Collections, München har 5 af værkerne på denne side.
Born in Vienna, Austria, Edward Jakob von Steinle emerged as a profound voice within the nineteenth-century art world, weaving together the spiritual depth of the Nazarene movement with a masterful command of both painting and printmaking. His artistic journey was deeply shaped by his formative years spent in Rome between 1828 and 1833, where he immersed himself among the leading figures of the Nazarene school. This period of intense study allowed him to absorb a philosophy that sought to revive sincerity and spiritual purity in Christian art, an influence that would remain the heartbeat of his creative output for decades to come.
As his career progressed, Steinle’s presence expanded far beyond the borders of his birthplace. While his roots remained firmly planted in the traditions of Vienna, he eventually settled in Frankfurt, Germany, where he became a central pillar of the German Romantic and Nazarene traditions. His ability to translate complex theological and literary themes into visual narratives made him a sought-after master for monumental commissions. From the delicate precision of his drawings to the grand scale of his frescoes, Steinle’s work often bridged the gap between the earthly and the divine.
The breadth of Steinle's talent is perhaps most evident in his ability to navigate both the sacred and the secular with equal grace. He was a master of monumental fresco and religious panel painting, leaving an indelible mark on the architectural landscape of Europe. His hands touched some of the most significant religious sites of his era, including:
Beyond these grand religious cycles, Steinle also excelled in creating works that drew from the rich tapestry of literature and folklore. His depictions, such as those found in his interpretations of The Lorelei, demonstrate a captivating ability to capture the ethereal and the mysterious. Whether working with graphite, brush, and gray wash or executing intricate stained glass cartoons, his technique always served a higher purpose: to evoke emotion and invite contemplation.
Steinle’s historical significance lies in his role as a bridge between eras. By championing the Nazarene ideals of spiritual revival, he helped maintain a sense of moral and aesthetic integrity during a period of rapid industrial and social change. His influence even extended to the next generation of great painters; notably, the renowned Frederic Leighton studied under him, carrying forward the lessons of classical form and expressive depth that Steinle had perfected.
Though his life concluded in Frankfurt, his artistic legacy remains etched in the very fabric of European cathedrals and museum collections. Through his dedication to the beauty of the sacred and the nuance of the human experience, Edward Jakob von Steinle ensured that the spirit of the Nazarene movement would endure as a vital chapter in the history of Western art.
