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Aus Sicht der Galerie ist Maxmilián Pirners berühmtestes Gemälde Feen am Bach (1895), dessen Original im Nationalgalerie Prag in Prag hängt. Funeral of a Fairy (1888) und Self-Portrait (1890) vervollständigen das Trio, das jedes Auge sofort wiederkennt. Von den 11 Werken von Maxmilián Pirner in unserem Katalog präsentiert die Galerie unten die 11 berühmtesten; jedes Original mit seinem Entstehungsjahr, seinem Museum und dem, was es so einzigartig macht.
Feen am Bach ist ein Ölgemälde auf Leinwand, das im Jahr 1895 von Maximilian Pirner geschaffen wurde. Das Werk hat eine Höhe von 99 cm und eine Breite von 61 cm und präsentiert eine vertikale Komposition, welche die Tiefe der bewaldeten Umgebung eindrucksvoll betont.
A heavy, dreamlike silence hangs over the water as a group of ethereal figures moves through a hazy, indistinct landscape. The air feels thick with the scent of damp earth and the weight of mourning. At the center of this slow, rhythmic movement, a deceased figure rests upon a bier, being carried by nymphs or fairies through a body of water. The light does not fall from a sun or…
In this 1890 oil portrait, we find ourselves in a private, hushed encounter with the artist himself. The subject, a middle-aged man, gazes out from a dark, indistinct background that offers no distractions from his presence. There is a profound stillness here, a moment of quietude captured through a realistic style that favors psychological depth over mere likeness. The composition is a classic bust-length arrangement, positioning the man centrally to…
In this fragment from a larger triptych, we find ourselves witnessing a moment of intense, suspended motion. The composition centers on two figures locked in a forceful embrace that feels less like an affection and more like a struggle. On the left, a winged, demonic entity with large, bat-like wings presses against a second figure. This second figure, appearing more human or divine, is partially draped in light-colored fabric that…
A skeletal figure leans into the light, a pale shape carved from darkness. It is a creature of bone and tattered black cloth, caught in the quiet act of creation. The figure holds a paintbrush, poised before an easel, turning the end of life into a gesture of making. This is not the reaper of harvest, but a painter of the void. The brush moves through a heavy, atmospheric space…
In this 1895 oil on canvas, we find ourselves in an intimate, quiet space with a young woman whose presence is felt through a steady, contemplative gaze. The composition is a close-up bust portrait, pulling the viewer into a direct, eye-level connection with the subject. There is a certain weight to the atmosphere, a somber quality that arises from the muted, dark background and the soft, directional light entering from…
The oil painting presents a vertical arrangement divided into two distinct realms. In the upper portion, a nude, winged female figure floats above a translucent globe. Her red hair and green drapery move in swirling lines. Beside her, a small cherubic figure plays a horn. Below this celestial scene, the lower half of the canvas depicts an elderly man with a weathered face and a white beard. He wears dark,…
Maximilian Pirner schuf das Werk mit dem Titel Somnambulant im Jahr 1878. Der Künstler, der in Sušice in der Tschechischen Republik geboren wurde, entwickelte seinen technischen Ansatz durch eine fundierte Ausbildung an der Akademie der Bildenden Künste in Prag sowie an der Akademie der Bildenden Künste in Wien. Seine künstlerische Laufbahn erstreckte sich über mehrere Jahrzehnte bis zu seinem Tod in Prag im Jahr 1924.
Two ethereal female figures occupy a vertical, watery landscape, their forms arranged in a cascading diagonal that mimics the movement of a stream. One figure is partially submerged, while the other appears to descend from above, creating a sense of continuous, rhythmic motion. The composition relies on organic, sinuous lines, particularly within the flowing hair and translucent drapery that wrap around the bodies. This movement is set against the solid,…
Die vier Motive, die in diesen Originalen am häufigsten vorkommen, jeweils mit ihrem herausragendsten Beispiel.
Das Museum, in dem sich die meisten der auf dieser Seite aufgeführten Gemälde befinden.
| Museum | Stadt | Werke von Maxmilián Pirner | Gemälde aus dieser Liste |
|---|---|---|---|
 Nationalgalerie Prag |
Prag | 7 | Feen am Bach, Self-Portrait, Fragment of a Painting from the Triptych Life, Love, Hatred and Death |
Wählen Sie ein Jahrzehnt aus, um das Original zu sehen, das es definiert.
Maximilian Pirner schuf das Werk mit dem Titel Somnambulant im Jahr 1878. Der Künstler, der in Sušice in der Tschechischen Republik geboren wurde, entwickelte seinen technischen Ansatz durch eine fundierte Ausbildung an der Akademie der Bildenden Künste in Prag sowie an der Akademie der Bildenden Künste in Wien. Seine künstlerische Laufbahn erstreckte sich über mehrere Jahrzehnte bis zu seinem Tod in Prag im Jahr 1924.
A heavy, dreamlike silence hangs over the water as a group of ethereal figures moves through a hazy, indistinct landscape. The air feels thick with the scent of damp earth and the weight of mourning. At the center of this slow, rhythmic movement, a deceased figure rests upon a bier, being carried by nymphs or fairies through a body of water. The light does not fall from a sun or…
Feen am Bach ist ein Ölgemälde auf Leinwand, das im Jahr 1895 von Maximilian Pirner geschaffen wurde. Das Werk hat eine Höhe von 99 cm und eine Breite von 61 cm und präsentiert eine vertikale Komposition, welche die Tiefe der bewaldeten Umgebung eindrucksvoll betont.
Two ethereal female figures occupy a vertical, watery landscape, their forms arranged in a cascading diagonal that mimics the movement of a stream. One figure is partially submerged, while the other appears to descend from above, creating a sense of continuous, rhythmic motion. The composition relies on organic, sinuous lines, particularly within the flowing hair and translucent drapery that wrap around the bodies. This movement is set against the solid,…
Feen am Bach (1895), Nationalgalerie Prag, Prag. Als Nächstes folgen Funeral of a Fairy (1888) und Self-Portrait (1890).
41 Jahre alt: Feen am Bach stammt aus dem Jahr 1895, und Maxmilián Pirner wurde in 1854 geboren.
Feen am Bach, Funeral of a Fairy, Self-Portrait, Fragment of a Painting from the Triptych Life, Love, Hatred and Death, Death, Černá Káča, Diogenes, Somnambulant, Flow und Hekate. Die obige Rangliste gibt das jeweilige Jahr und das Museum an.
Unser Katalog umfasst 11 Werke von Maxmilián Pirner, datiert von 1878 bis 1903.
Meistens in Nationalgalerie Prag (Prag). Die obige Museumstabelle listet alle auf.
In 1890s: 4 der 11 Werke auf dieser Seite wurden damals geschaffen, darunter Feen am Bach.
Auf dieser Seite ist das früheste Werk aus Somnambulant (1878) und das neueste aus Flow (1903).
Woman (3), Water (2) und Figures (2), verteilt auf die 11 Werke auf dieser Seite.
Oil On Canvas, für 4 von insgesamt 11 Werken auf dieser Seite.
Feen am Bach, Self-Portrait und Fragment of a Painting from the Triptych Life, Love, Hatred and Death: Das Nationalgalerie Prag, Prag beherbergt 7 der Werke auf dieser Seite.
Maximilian Pirner (Czech: Maxmilián Pirner; February 13, 1853 – April 2, 1924) was a Czech painter who emerged from the Bohemian landscape to become a prominent figure in Viennese Symbolism and the Vienna Secession. His artistic vision—characterized by haunting beauty intertwined with unsettling themes—continues to fascinate scholars and collectors alike.
Born in Sušice, Bohemia (now Šüttenhofen), Pirner’s early life was marked by a fascination for classical mythology and an inclination towards melancholic contemplation. He pursued formal artistic training diligently, enrolling at the Academy of Fine Arts, Prague, followed by studies at the Academy of Fine Arts, Vienna, where he honed his skills under Josef Matyáš Trenkwald.
Vienna Secession & Artistic Development:
Joining the Vienna Secession in 1887 proved pivotal to Pirner’s artistic trajectory. This influential group championed avant-garde experimentation and rejected academic conventions, fostering an environment conducive to exploring darker psychological landscapes. Pirner embraced this spirit of innovation wholeheartedly, pushing boundaries and challenging established norms.
Pirner's distinctive style—often termed “Vienna Symbolism”—is instantly recognizable for its evocative use of color and form. He excelled in depicting scenes from Greek mythology, particularly those imbued with erotic undertones juxtaposed against the inevitability of death. His paintings frequently feature female figures rendered with sensual grace yet shadowed by an aura of sorrow and vulnerability.
Pirner's artistic legacy extends beyond his individual artworks. He served as a teacher at the Academy of Fine Arts, Prague, nurturing generations of aspiring artists and shaping the artistic landscape of Bohemia. His unwavering commitment to exploring the darker facets of human experience cemented his place among the foremost Symbolist painters of his era.
Pirner’s work continues to resonate with audiences today, prompting contemplation on themes of mortality, desire, and the sublime beauty found within decay. He remains a testament to the power of art to grapple with existential questions and capture the elusive essence of human emotion—a true heir to the traditions of Romanticism and Symbolism.
