Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 28 værker af Moritz Daniel Oppenheim i vores katalog
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Marriage Portrait of Charlotte de Rothschild (1836) er det maleri af Moritz Daniel Oppenheim, der vækker mest opsigt; originalen findes på Israel Museum, Jerusalem. Derefter falder blikket på The Presentation at the Synagogue (Das Schultragen) (1869) og The Conclusion of the Sabbath (Sabbath-Ausgang) (1866). Blandt de 28 værker af Moritz Daniel Oppenheim i vores katalog er disse 27 de mest berømte, hver især et unikt originalværk præsenteret med sit årstal, sit museum og årsagen til dets tidløse betydning.
A young woman sits poised in a moment of quiet grace, her presence filling the space with a serene, romantic light. She is draped in voluminous white and silver sleeves that catch the soft, directional light, creating a play of shadows across the delicate folds of her gown. Her skin glows with a luminous quality, contrasting against the deep, lush greens of the fruit tree behind her. A warm gold…
A small hand reaches out to grasp the cold, metallic finials of a Torah binder. This object, sewn from strips of swaddling cloth used during circumcision, carries the weight of a child's name and a family's hope. Within the grand hall of the synagogue, the air feels heavy with the grey and black tones of an oil painting that captures a singular moment of transition. A father leans toward his…
Step closer and observe the quietude within this room. We find ourselves in a domestic space, a dining room caught in that delicate, flickering moment between the sacred rest of the Sabbath and the return to the labors of the week. The scene is centered upon a man lighting candles, a gesture that marks the havdalah ceremony. Around him, a multigenerational family and a Talmud student are gathered, their presence…
Moritz Daniel Oppenheim's "The Examination," painted in 1868, is more than just a domestic scene; it’s a poignant window into the heart of 19th-century Jewish family life. This intimate portrait, rendered with remarkable sensitivity and detail, captures a moment of quiet contemplation within a warmly lit living space – a space that speaks volumes about tradition, education, and familial bonds. The painting immediately draws the viewer in, not with grand…
A young woman is seated at a desk in this 1825 oil portrait. She is positioned slightly off-center, facing the viewer with a calm, steady expression. Her upper body and hands are the primary focus of this medium shot, captured at eye level. She wears a gown of a deep burgundy hue, the fabric appearing smooth and lustrous under the light. The sleeves and folds of the garment suggest a…
The Marriage Portrait of Charlotte von Rothschild is an oil on canvas painted by Moritz Daniel Oppenheim in 1836. The sitter is Charlotte von Rothschild, a German-born British socialite. She was a member of the Rothschild banking family of Naples. The portrait captures her at a moment of significant transition, marked by her family's prominent standing.
The Portrait of Kalmann Meyer Carl von Rothschild is an oil painting by the German artist Moritz Daniel Oppenheim. Created about 1851, this work captures a man of significant standing. Oppenheim was commissioned to paint several portraits of prominent members of the Rothschild banking dynasty, documenting their presence through the lens of mid-nineteenth-century realism.
This work is the Portrait of Adolph Carl von Rothschild, a formal depiction rendered by the German painter Moritz Daniel Oppenheim. Created about 1850, the portrait captures Baron Adolph Carl von Rothschild, a prominent figure within the influential Rothschild banking dynasty. The sitter's presence is marked by a quiet, dignified gravity that reflects his status during the mid-nineteenth century.
In the painting Jewish Wedding in Frankfurt by Moritz Daniel Oppenheim, the composition utilizes a medium close-up shot that focuses on the upper bodies of two central figures. These figures are positioned in the center of the frame against a dark, indistinct background. The perspective is set at eye-level, establishing a direct connection between the viewer and the subjects. The scene depicts a traditional Jewish wedding ceremony occurring in the…
The oil on canvas titled Sabbath Rest, also known as Sabbath-Ruhe auf der Gasse, was painted in 1866. This work belongs to the hand of Moritz Daniel Oppenheim, an artist born in 1800 in Hanau, Germany. He lived until 1882 in Frankfurt, Germany. The painting captures a specific moment of stillness, a pause in the rhythm of daily life.
The Kindling of the Hanukkah Lights1880 · Israel Museum
12
Shavuot (Pentecost) (Das Wochen- oder Pfingst-Fest)1880
13
The Bar Mitzvah Discourse (Bar-Mizwa-Vortag)1869 · Det Jødiske Museum
14
Sukkot (Feast of Tabernacles) (Das Laubhütten-Fest)1867 · Det Jødiske Museum
15
The Godfather Awaits the Child (Der Gevatter erwartet das Kind)1867 · Det Jødiske Museum
16
The Elector of Hesse Entrusting Mayer Amschel Rothschild (1743–1812), with His TreasureAscott House
17
The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)1834 · Det Jødiske Museum
18
The Wedding (Die Trauung)1866 · Det Jødiske Museum
19
Portrait of Fanny Mendelssohn Hensel1842 · Det Jødiske Museum
20
Self-Portrait1822 · Israel Museum
21
Lionel Nathan de Rothschild1835 · National Portrait Gallery
22
Self-Portrait1814 · Det Jødiske Museum
23
Seder (The Passover Meal) (Der Oster-Abend)1867
24
Otto von Bismark and Giuseppe Garibaldi Visiting St. Peter in Rome1878 · Israel Museum
25
The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)1833 · Det Jødiske Museum
26
Purim (Feast of Esther) (Das Purim-Fest)1873 · Det Jødiske Museum
27
Lavater and Lessing Visit Moses Mendelssohn1856
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
#15 The Godfather Awaits the Child (Der Gevatter erwartet das Kind)
#17 The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)
#25 The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)
De 4 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Moritz Daniel Oppenheim | Malerier fra denne liste |
|---|---|---|---|
 Det Jødiske Museum |
New York City | 12 | The Presentation at the Synagogue (Das Schultragen), The Conclusion of the Sabbath (Sabbath-Ausgang), The Examination (Das Verhören) |
 Israel Museum |
Jerusalem | 9 | Marriage Portrait of Charlotte de Rothschild, Portrait of a Young Woman at her Desk, Marriage Portrait of Charlotte von Rothschild |
 Ascott House |
Leighton Buzzard | 1 | The Elector of Hesse Entrusting Mayer Amschel Rothschild (1743–1812), with His Treasure |
 National Portrait Gallery |
London | 1 | Lionel Nathan de Rothschild |
Vælg et årti for at se det originale værk, der definerer det.
In the quiet intensity of his 1814 Self-Portrait, we encounter more than just the likeness of a young man; we witness the dawn of a profound artistic identity. Moritz Daniel Oppenheim, a figure who would later become a pioneer of Jewish artistic representation in Germany, presents himself here with a striking blend of youthful ambition and classical poise. Holding his palette with a sense of quiet pride, the artist positions…
A young woman is seated at a desk in this 1825 oil portrait. She is positioned slightly off-center, facing the viewer with a calm, steady expression. Her upper body and hands are the primary focus of this medium shot, captured at eye level. She wears a gown of a deep burgundy hue, the fabric appearing smooth and lustrous under the light. The sleeves and folds of the garment suggest a…
A young woman sits poised in a moment of quiet grace, her presence filling the space with a serene, romantic light. She is draped in voluminous white and silver sleeves that catch the soft, directional light, creating a play of shadows across the delicate folds of her gown. Her skin glows with a luminous quality, contrasting against the deep, lush greens of the fruit tree behind her. A warm gold…
In the quiet intimacy of Moritz Daniel Oppenheim’s 1842 masterpiece, Portrait of Fanny Mendelssohn Hensel, we encounter more than a mere likeness; we enter a profound dialogue between light and identity. As a pivotal figure in the Romantic era, Fanny Hensel—the brilliant musical force and sister to Felix Mendelssohn-Bartholdy—is rendered here with a dignity that transcends the boundaries of a traditional portrait. Oppenheim, a pioneer in documenting the nuances of…
The Portrait of Kalmann Meyer Carl von Rothschild is an oil painting by the German artist Moritz Daniel Oppenheim. Created about 1851, this work captures a man of significant standing. Oppenheim was commissioned to paint several portraits of prominent members of the Rothschild banking dynasty, documenting their presence through the lens of mid-nineteenth-century realism.
A small hand reaches out to grasp the cold, metallic finials of a Torah binder. This object, sewn from strips of swaddling cloth used during circumcision, carries the weight of a child's name and a family's hope. Within the grand hall of the synagogue, the air feels heavy with the grey and black tones of an oil painting that captures a singular moment of transition. A father leans toward his…
A quiet domesticity defines this 1880 scene, where a Jewish family gathers to observe the Hanukkah ritual. The composition utilizes a deep perspective, drawing the eye from the foreground figures through an open doorway into a secondary room where others sit in repose. Soft, directional light enters from the left, casting gentle shadows that define the heavy drapery and the textures of period clothing. The palette is muted and monochromatic,…
Marriage Portrait of Charlotte de Rothschild (1836), Israel Museum, Jerusalem. Derefter følger The Presentation at the Synagogue (Das Schultragen) (1869) og The Conclusion of the Sabbath (Sabbath-Ausgang) (1866).
36 år gammel: Marriage Portrait of Charlotte de Rothschild er fra 1836, og Moritz Daniel Oppenheim blev født i 1800.
Marriage Portrait of Charlotte de Rothschild, The Presentation at the Synagogue (Das Schultragen), The Conclusion of the Sabbath (Sabbath-Ausgang), The Examination (Das Verhören), Portrait of a Young Woman at her Desk, Marriage Portrait of Charlotte von Rothschild, Portrait of Kalmann Meyer Carl von Rothschild, Portrait of Adolph Carl von Rothschild, Jewish Wedding in Frankfurt og Sabbath Rest. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 28 værker af Moritz Daniel Oppenheim, dateret fra 1814 til 1880.
Primært i Det Jødiske Museum (New York City), Israel Museum (Jerusalem) og Ascott House (Leighton Buzzard). Museumslisten ovenfor viser dem alle.
I 1860s: 10 af de 27 værker på denne side blev skabt dengang, herunder The Presentation at the Synagogue (Das Schultragen).
På denne side er det tidligste Self-Portrait (1814) og det seneste The Kindling of the Hanukkah Lights (1880).
Woman (6), Man (6) og Jewish family life (3), fordelt på de 27 værker på denne side.
Oil On Canvas, for 13 af de 27 værker på denne side.
German romanticism, baseret på originalerne på denne side.
The Presentation at the Synagogue (Das Schultragen), The Conclusion of the Sabbath (Sabbath-Ausgang) og The Examination (Das Verhören): Det Jødiske Museum, New York City har 12 af værkerne på denne side.
Moritz Daniel Oppenheim (1800-1882) står som en enestående skikkelse i den tyske kunsthistories annaler, som en dybsindig pioner inden for jødisk kunstnerisk repræsentation. Han blev født i Hanau, Tyskland, og hans liv og virke var dybt forankret i en dedikation til at dokumentere og fejre nuancerne i det jødiske liv og kultur under det transformative 19. århundrede. Han blev ofte hyldet som den første jødiske maler, der opnåede bred anerkendelse i det etablerede kunstneriske landskab, idet han bevægede sig ud over blot biografiske detaljer for at skabe et værk, der udgør en vital visuel registrering af et samfund, der navigerede gennem moderniseringens kompleksiteter, mens det stræbte efter at bevare sine hellige traditioner.
Oppenheims kunstneriske rejse begyndte med den grundlæggende uddannelse under Conrad Westermayr i hans fødeby, hvor han først opsugede principperne i tysk romantisk maleri. Hans sande professionelle opstigning blev dog katalyseret af hans indskrivning på Münchens Kunstakademi i en alder af sytten år. Det var i disse prestigefyldte sale, at han forfinede sin tekniske mesterlighed side om side med samtidige som Wilhelm Leibl og Johann Baptist Eberhard Krauss. I søgen efter at udvide sine horisonter begav Oppenheim sig ud på en transformativ periode med studier i udlandet, hvor han rejste til Paris for at studere under Jean-Baptiste Regnault og senere til Rom. I Italien, vejledt af lysende skikkelser som Bertel Thorwaldsen og den nazarenske maler Johann Friedrich Overbeck, udviklede hans stil sig til en sofistikeret blanding af minutiøs observation og klassisk indflydelse. Denne romerske periode var særligt afgørende, da den indgydede hans arbejde med en følelse af historisk tyngde, som senere ville præge hans skildringer af jødiske ritualer og dagligliv.
Kernen i Oppenheims bidrag til kunsten ligger i hans evne til at transformere den hjemlige sfære til en scene for dybe kulturelle fortællinger. Hans malerier fokuserer ofte på intime scener fra det jødiske familieliv, hvor han indfanger ritualernes stille værdighed og de fælles bånds varme. Gennem hans pensel bliver det hverdagsagtige monumentalt. I værker som Sabbattens afslutning (Sabbath-Ausgang) anvender han mesterlig realisme og subtil symbolik til at skildre den rørende overgang fra sabbattens hellige hvile tilbage til den verdslige verden, hvilket inviterer beskueren til at vidne om familiens ritualers hellighed.
Hans evne til at væve historisk kontekst sammen med personlig følelse er måske tydeligst i hans genremalerier, der dokumenterer specifikke kulturelle milepæle. For eksempel:
Udover hans tekniske kunnen er Oppenheims arbejde uadskilleligt forbundet med Wissenschaft des Judentums-bevægelsen – et videnskabeligt bestræbelse på at etablere jødisk historie og kultur som et respekteret akademisk felt. Hans malerier fungerede som visuel forskning, der leverede en værdig og autentisk repræsentation af et samfund, som ofte var marginaliseret i den bredere europæiske kunstkanon. Ved at portrættere jødiske motiver med samme grad af detaljerigdom, værdighed og romantisk storhed, som normalt var forbeholdt aristokratiske eller mytologiske temaer, udfordrede han eksisterende fordomme og cementerede betydningen af jødisk identitet i den tyske kulturelle struktur.
I sidste ende er Moritz Daniel Oppenheims eftermæle et vidnesbyrd om modstandskraft og synlighed. Han malede ikke blot scener; han konstruerede et visuelt sprog for en brydningstid. Hans evne til at indfange den delikate balance mellem den gamle og den nye verden sikrer, at hans værk forbliver et essentielt referencepunkt for forståelsen af det 19. århundredes jødiske erfaringer, hvilket gør ham til en uundværlig skikkelse i både den tyske romantiks historie og den globale fortælling om jødisk kunst.
