Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 37 works by Albert Weisgerber in our catalogue
In short
David and Goliath (1914) is the Albert Weisgerber painting that draws the most eyes; the original belongs to the Saarland Museum, Saarbrücken. After it, the eye goes to The Poet Ludwig Scharf (1905) and The Painter Wilhelm Koeppen (1901). Among the 37 works of Albert Weisgerber in our catalog, these 34 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
Albert Weisgerber’s 1914 oil on canvas, David and Goliath, captures the tension of the biblical confrontation between the young shepherd and the Philistine giant. The work measures 104 x 122 cm. It presents the moment of anticipation before the combat, focusing on the disparity between the two combatants.
This portrait, titled The Poet Ludwig Scharf, was painted by the German artist Albert Weisgerber. It offers a quiet, intimate encounter with the subject, captured in a moment of stillness. The work was created about 1905, a period when the artist was deeply immersed in the creative circles of Munich.
In this portrait, titled The Painter Wilhelm Koeppen, Albert Weisgerber presents a quiet, three-quarter view of the subject. The man is depicted from the waist up, positioned slightly off-center as he faces toward the left of the frame. He possesses short, dark hair and wears spectacles, which lend a sense of intellectual presence to his gaze. His attire consists of a high white collar and a dark jacket, creating a…
In the painting Parisian Restaurant by Albert Weisgerber, the composition is structured by several strong vertical elements. On the left side of the frame, a red pillar provides a solid vertical boundary. In the center, the dark figure of a man stands, creating a central axis that divides the interior space from the view beyond. This arrangement frames a view of a busy street scene located in the background. The…
In this work, Saint Sebastian by Albert Weisgerber, we encounter the martyrdom of the saint through a stark, vertical arrangement. The composition centers on a nude man, his form elongated and positioned against a backdrop of simplified, vertical tree trunks. He is tied to a post or a tree, his arms raised and bound high above his head. This posture emphasizes a state of profound suffering, a physical vulnerability captured…
This work exists at a crossroads of visual history. While the subject matter feels candid and documentary, the way the light interacts with the environment hints at a deeper interest in the atmosphere of a specific place and time. The presence of the bicycle and the paved path speaks to a world in transition, where traditional natural settings meet the modern tools of movement and leisure. There is a sense…
The artwork titled Porträt des Max Halbe. is a portrait painted by the artist Albert Weisgerber. This work depicts the subject, Max Halbe, in a bust-length composition. The painting was created about 1909. The image presented is a monochromatic, sepia-toned reproduction of the original oil on canvas, capturing the subject in a serious posture.
In this 1906 portrait, we find ourselves in the presence of a man caught in a moment of profound stillness. He is positioned in profile, his gaze fixed intently upon a large canvas that occupies the center of his attention. There is a palpable sense of intimacy here, as if we have stumbled upon a private ritual within a studio or gallery. The light, arriving softly from the left, carves…
A nude male figure stands rigid within a dense, dark forest. The composition relies on heavy verticality, with the trunks of trees and the upright posture of the subject creating a sense of claustrophobic depth. Shadows obscure specific anatomical details, leaving the figure’s presence felt through mass and silhouette rather than precise line. The atmosphere is heavy, defined by a subdued palette of deep blues, greens, and ochre.
In this 1908 oil on canvas, we find a young man caught in a moment of quiet introspection. He is seated, dressed in a dark suit, holding the essential tools of his trade: a palette and a paintbrush. There is a certain stillness here, a pause in the creative act that allows us to look directly into the eyes of the creator. The composition is centered, pulling our attention toward…
Reclining Figure in a Mountain Landscape (Mother Earth)1914 · Bavarian State Painting Collections
12
Somali Woman1912 · Bavarian State Painting Collections
13
Untitled (AQQW2L)1912
14
Peasant Boy under Birches1901 · Bavarian State Painting Collections
15
In the beer garden1905 · Pomeranian State Museum
16
Summer Day1907 · Lenbachhaus
17
Untitled (AQQW2Y)1910
18
Untitled (AQQW2U)1910 · Saarland Museum
19
Deutsch Selbstbildnis mit nacktem Oberkörper1911
20
In the Munich Hofgarden1911 · Lenbachhaus
21
Riding in the English Gardens, Munich1910 · Saarland Museum
22
Forest Interior with Figures1912 · Bavarian State Painting Collections
23
The Judgment of Paris1912 · Bavarian State Painting Collections
24
Bathers, Combing Their Hair1913
25
Battle of the Amazons1912
26
Mountain Landscape1913
27
Reclining Woman in the Sun1913
28
Resting Couple in the Woods1914
29
Lamenting Jeremiah under the Rainbow1912
30
Untitled (AQQW2W)1912
31
Deutsch Selbstbildnis1914
32
Absalom1912 · Saarland Museum
33
Reclining Woman
34
Self portrait Deutsch am Attersee
The four subjects that come back most often in these originals, each with its finest example.
The 5 museums that hold the most of the paintings on this page.
| Museum | City | Works by Albert Weisgerber | Paintings from this list |
|---|---|---|---|
 Bavarian State Painting Collections |
Munich | 8 | The Poet Ludwig Scharf, The Painter Wilhelm Koeppen, Saint Sebastian |
 Saarland Museum |
Saarbrücken | 4 | David and Goliath, Untitled (AQQW2U), Riding in the English Gardens, Munich |
 Lenbachhaus |
Munich | 3 | Parisian Restaurant, Summer Day, In the Munich Hofgarden |
 Ніжнійсько-Саксонський державний музей Ганновер |
Ганновер | 1 | Self portrait |
 Pomeranian State Museum |
Greifswald | 1 | In the beer garden |
14 years separate Albert Weisgerber's first and last dated originals shown here, 1901 and 1914: each year has its place below.
Pick a year to see its originals.
In this portrait, titled The Painter Wilhelm Koeppen, Albert Weisgerber presents a quiet, three-quarter view of the subject. The man is depicted from the waist up, positioned slightly off-center as he faces toward the left of the frame. He possesses short, dark hair and wears spectacles, which lend a sense of intellectual presence to his gaze. His attire consists of a high white collar and a dark jacket, creating a…
More from 1901
This portrait, titled The Poet Ludwig Scharf, was painted by the German artist Albert Weisgerber. It offers a quiet, intimate encounter with the subject, captured in a moment of stillness. The work was created about 1905, a period when the artist was deeply immersed in the creative circles of Munich.
More from 1905
In the painting Parisian Restaurant by Albert Weisgerber, the composition is structured by several strong vertical elements. On the left side of the frame, a red pillar provides a solid vertical boundary. In the center, the dark figure of a man stands, creating a central axis that divides the interior space from the view beyond. This arrangement frames a view of a busy street scene located in the background. The…
More from 1906
In this 1908 oil on canvas, we find a young man caught in a moment of quiet introspection. He is seated, dressed in a dark suit, holding the essential tools of his trade: a palette and a paintbrush. There is a certain stillness here, a pause in the creative act that allows us to look directly into the eyes of the creator. The composition is centered, pulling our attention toward…
This work exists at a crossroads of visual history. While the subject matter feels candid and documentary, the way the light interacts with the environment hints at a deeper interest in the atmosphere of a specific place and time. The presence of the bicycle and the paved path speaks to a world in transition, where traditional natural settings meet the modern tools of movement and leisure. There is a sense…
More from 1909
In this work, Saint Sebastian by Albert Weisgerber, we encounter the martyrdom of the saint through a stark, vertical arrangement. The composition centers on a nude man, his form elongated and positioned against a backdrop of simplified, vertical tree trunks. He is tied to a post or a tree, his arms raised and bound high above his head. This posture emphasizes a state of profound suffering, a physical vulnerability captured…
More from 1910
Albert Weisgerber created Somali Woman in 1912. The portrait focuses on a seated woman positioned within a domestic or interior setting. She is depicted in a state of stillness, reclining or sitting in the lower two-thirds of the frame. A dark, slender silhouette of a human figure stands against a wall to her left, while a large, patterned curtain or fabric hangs vertically behind her.
More from 1912
Albert Weisgerber’s 1914 oil on canvas, David and Goliath, captures the tension of the biblical confrontation between the young shepherd and the Philistine giant. The work measures 104 x 122 cm. It presents the moment of anticipation before the combat, focusing on the disparity between the two combatants.
More from 1914
David and Goliath (1914), Saarland Museum, Saarbrücken. The Poet Ludwig Scharf (1905) and The Painter Wilhelm Koeppen (1901) come next.
36 years old: David and Goliath dates from 1914, and Albert Weisgerber was born in 1878.
David and Goliath, The Poet Ludwig Scharf, The Painter Wilhelm Koeppen, Parisian Restaurant, Saint Sebastian, Forest Path, Porträt des Max Halbe., Untitled (AQQW2G), Untitled (AQQW34) and Self portrait. The ranking above gives each one's year and museum.
Our catalog holds 37 works by Albert Weisgerber, dated from 1901 to 1914.
Mostly in Bavarian State Painting Collections (Munich), Saarland Museum (Saarbrücken) and Lenbachhaus (Munich). The museum table above lists them all.
In 1912: 8 of the 34 works on this page were made then, Somali Woman among them.
On this page, the earliest is The Painter Wilhelm Koeppen (1901) and the latest David and Goliath (1914).
Man (5), Portrait (4) and People (3), across the 34 works on this page.
Oil On Canvas, for 7 of the 34 works on this page.
The Poet Ludwig Scharf, The Painter Wilhelm Koeppen and Saint Sebastian: the Bavarian State Painting Collections, Munich holds 8 of the works on this page.
Albert Weisgerber, a name perhaps less familiar than some of his contemporaries within the vibrant artistic circles of early 20th-century Munich, nevertheless stands as a crucial figure in bridging the gap between the established traditions of Impressionism and the nascent movements that would ultimately define Expressionism. Born in Sankt Ingbert in 1878, Weisgerber’s life was tragically cut short at the young age of 37 during World War I, yet his artistic legacy—a collection of evocative portraits, lively café scenes, and a distinctive visual language—continues to resonate with collectors and art historians alike. His story is one interwoven with friendships that shaped the course of modern art, personal tragedy, and a relentless pursuit of capturing the fleeting moments of human experience.
Weisgerber’s early artistic training began in Frankfurt, where he apprenticed as a decorative painter. However, it was his relocation to Munich in 1894 that truly ignited his creative spirit. He enrolled at the Kunstgewerbeschule (School of Arts and Crafts), laying the groundwork for his later explorations of color and form. Crucially, he then entered the studio of Franz von Stuck at the Akademie der Bildenden Künste (Academy of Fine Arts), a setting that exposed him to the influences of Symbolism and the burgeoning currents of modern art. This period proved formative, fostering a deep appreciation for composition, light, and shadow – elements he would later master with remarkable skill.
The late 1890s witnessed the formation of “Sturmfackel,” an artist’s group founded alongside his friend Alfred Kubin. This collective provided a space for experimentation and collaboration, allowing Weisgerber to hone his skills and develop his unique style. It was during this time that he began contributing illustrations to the influential Jugend magazine, a publication known for its progressive aesthetic and engagement with contemporary social issues. These commissions exposed him to a wider audience and further refined his ability to capture the dynamism of urban life – particularly the bustling atmosphere of Munich’s cafes.
A pivotal moment in Weisgerber's artistic development occurred in 1904, when he immersed himself in the vibrant café scene of Munich. This period produced a series of paintings depicting the social interactions and everyday rituals of the city’s bohemian circles – scenes brimming with energy, color, and a subtle sense of melancholy. These works are often characterized by their loose brushwork, bold colors, and a focus on capturing the fleeting expressions of his subjects. Notably, he met Margaret Pohl during this time; her own artistic pursuits and family connections—her father was a successful Jewish banker in Prague—proved to be a significant influence, fostering a shared appreciation for beauty and a willingness to challenge conventional norms.
In 1906, Weisgerber’s talent gained international recognition with the acquisition of several paintings by prominent collectors. This success fueled his ambition and led him to Florence in 1909, where he sought inspiration from the works of Italian primitive artists. He attempted a stylistic shift towards greater simplification and directness, but ultimately returned to Munich, refining his distinctive approach. The years leading up to the outbreak of World War I saw Weisgerber become a founding member and president of the Neue Münchener Secession in 1913 – a group that championed artistic innovation and challenged the established art world. This association brought him into contact with other influential figures, including Alexej von Jawlensky and Paul Klee.
Tragically, Weisgerber’s life was cut short during the Battle of Fromelles in May 1915. Serving as Commanding Officer of the 1st Company of RIR 16 – the List Regiment—he fell victim to a shell explosion. His death, occurring just months before the end of the war, marked a profound loss for the artistic community. Remarkably, his final days were spent in close proximity to Adolf Hitler, who was assigned to regimental headquarters at the time. Despite his untimely demise, Weisgerber’s legacy persists through his captivating paintings—works that offer a poignant glimpse into the spirit of a rapidly changing era and stand as a testament to his unique artistic vision.
Weisgerber's oeuvre is characterized by a remarkable versatility, encompassing portraits, genre scenes, and landscapes. His paintings often feature a distinctive blend of Impressionistic techniques with elements of Expressionism—a tendency towards heightened color, emotional intensity, and distorted forms. His use of light and shadow is particularly noteworthy, creating a sense of atmosphere and depth that draws the viewer into the scene.
His work is often described as a synthesis of influences—drawing upon the Impressionists’ focus on light and color, the Symbolists’ exploration of emotion and symbolism, and the emerging trends of Expressionism. He skillfully blended these elements to create a unique visual language that remains both captivating and deeply evocative.
Albert Weisgerber's artistic career unfolded during a period of profound social and cultural change in Germany. The late 19th and early 20th centuries witnessed the rise of modernism, with artists challenging traditional conventions and exploring new forms of expression. Munich, as a center of art and culture, played a pivotal role in this movement. Weisgerber’s association with groups like “Sturmfackel” and the Neue Münchener Secession placed him at the heart of this artistic ferment.
His work reflects the anxieties and uncertainties of his time—a sense of displacement, alienation, and a yearning for meaning in a rapidly changing world. Despite his relatively short career, Weisgerber left behind a significant body of work that continues to be studied and appreciated by art historians and collectors. His paintings offer a valuable window into the artistic landscape of early 20th-century Germany—a testament to his talent, vision, and enduring legacy.
