Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 3 værker af Hermann Stilke i vores katalog
Kort sagt
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843) er det maleri af Hermann Stilke, der vækker mest opsigt; originalen findes på Hermitage Museum, Sankt Petersborg. Derefter falder blikket på Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843) og Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843). Blandt de 3 værker af Hermann Stilke i vores katalog er disse 3 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
1. Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) 1843
2. Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) 1843
3. Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) 1843
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) is a religious oil on canvas painting by Hermann Stilke. Executed in 1843, the work originates from Germany. It functions as the right-hand component of a larger three-part narrative cycle focused on the life of the Maid of Orleans.
Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) is a work by the German painter Hermann Stilke. Executed in 1843, the oil on canvas composition functions as the kinetic core of a larger three-part narrative cycle. This central panel captures the decisive Battle of Patay, a significant engagement in the Hundred Years' War.
We are looking at Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych), a significant religious art object painted by Hermann Stilke. This specific piece was created in Germany in 1843. It represents the left-hand component of a larger triptych, a structural arrangement that allows for a narrative progression through the life of the subject.
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Hermann Stilke | Malerier fra denne liste |
|---|---|---|---|
 Hermitage Museum |
Sankt Petersborg | 3 | Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych), Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych), Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) |
Alle de daterede Hermann Stilke-originaler, der vises her, tilhører et enkelt år, 1843: de er opstillet efter berømmelse.
Vælg et årstal for at se de originale værker.
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) is a religious oil on canvas painting by Hermann Stilke. Executed in 1843, the work originates from Germany. It functions as the right-hand component of a larger three-part narrative cycle focused on the life of the Maid of Orleans.
Mere fra 1843
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843), Hermitage Museum, Sankt Petersborg. Derefter følger Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843) og Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843).
40 år gammel: Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) er fra 1843, og Hermann Stilke blev født i 1803.
Vores katalog indeholder 3 værker af Hermann Stilke.
Primært i Hermitage Museum (Sankt Petersborg). Museumslisten ovenfor viser dem alle.
I 1843: 3 af de 3 værker på denne side blev skabt dengang, herunder Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych).
Woman (3), Smoke (2) og Sky (2), fordelt på de 3 værker på denne side.
Oil On Canvas, for 3 af de 3 værker på denne side.
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych), Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) og Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych): Hermitage Museum, Sankt Petersborg har 3 af værkerne på denne side.
Born in Berlin in 1803, Anton Hermann Stilke did not initially intend to spend his days with a brush in hand. His early inclinations leaned toward agriculture, yet the pull of the visual arts proved too strong to resist. He began his formal training at the Berlin Academy under Carl Wilhelm Kolbe, finding his footing within the structured traditions of German academic art. By 1820, he was presenting his work to the public, marking the start of a career defined by rigorous study and a deep connection to the Düsseldorfer Malerschule.
His education was a sequence of significant encounters with the masters of his era. After leaving Berlin, he moved to the Kunstakademie Düsseldorf to study under Peter von Cornelius. This period of intense academic discipline shaped his approach to large-scale compositions and historical subjects. He later expanded his horizons through travels to Northern Italy and Rome, staying in the latter until illness forced a return home in 1833. These years abroad provided him with a direct connection to classical influences that would inform his later religious and romantic themes.
Stilke’s professional life was marked by significant commissions that required both technical skill and endurance. One of his most notable achievements involved the decoration of the Knights' Hall at Stolzenfels Castle near Koblenz. Working for the Prussian Crown Prince, Frederick William IV, he spent years between 1842 and 1846 executing large-scale murals. These works, known as the Six Knightly Virtues, demonstrated his ability to handle the demanding medium of fresco painting.
His talent for monumental work extended beyond the Rhineland. In Munich, he contributed frescoes to the arcades of the Hofgarten. His repertoire often focused on the dramatic and the spiritual, seen in works such as:
As his career progressed, Stilke transitioned from a student and teaching assistant to a position of academic authority. After years spent moving between Düsseldorf and Munich, he settled back in Berlin by 1850. His standing within the artistic community was formally recognized in 1854 when he was named a professor at the Berlin Academy, an institution he had been associated with since 1835.
His personal life was intertwined with the art world through his marriage to Sophia Hermine Stilke, a noted watercolorist and illustrator. Together, they navigated the prominent circles of the German art scene. Hermann Stilke passed away in Berlin in 1860 at the age of fifty-seven. He left behind a body of work that remains anchored in the academic traditions of the nineteenth century, characterized by his devotion to historical narrative and the permanence of fresco.