Portrait of Arthur Kampf

The 11 Most Famous Arthur Kampf Paintings, a Gallery Selection

Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 11 works by Arthur Kampf in our catalogue

In short

Of all the originals Arthur Kampf left, the most famous is Lying in State of the Body of Wilhelm I in the Dom zu Berlin (1888), in the collection of the Bavarian State Painting Collections, Munich. Close behind it come The Choral of Leuthen (1887) and Blessing of Lützow's Black Volunteers in the Church at Rogau near Zobten in Silesia in the Year 1813 (1891). Our catalog holds 11 works by Arthur Kampf; the gallery has kept the 11 the world admires most, each shown with its date, its museum and its story.

1864 – 1950, Aachen Most works: Alte Nationalgalerie

Arthur Kampf's top 10 paintings: the gallery's choice

The Arthur Kampf selection continues, 11 to 11

The museums that keep Arthur Kampf's originals

The 5 museums that hold the most of the paintings on this page.

Museum City Works by Arthur Kampf Paintings from this list
Alte Nationalgalerie, BerlinAlte Nationalgalerie Berlin 3 The Performer, Boy in red, Good Friday in a French Church (Pinon)
Bavarian State Painting Collections, MunichBavarian State Painting Collections Munich 2 Lying in State of the Body of Wilhelm I in the Dom zu Berlin, The Choral of Leuthen
Staatliche Kunsthalle Karlsruhe, CarlsruheStaatliche Kunsthalle Karlsruhe Carlsruhe 1 Blessing of Lützow's Black Volunteers in the Church at Rogau near Zobten in Silesia in the Year 1813
Harvard Art Museums, CambridgeHarvard Art Museums Cambridge 1 Portrait of Hugo Reisinger
Museum Kunstpalast, DuesseldorfMuseum Kunstpalast Duesseldorf 1 The Last Statement

Arthur Kampf decade by decade: the original that defines each

Works per decade

Pick a decade to see the original that defines it.

Collectors' questions about Arthur Kampf's paintings

Which work is Arthur Kampf most famous for?Reveal the answer

Lying in State of the Body of Wilhelm I in the Dom zu Berlin (1888), Bavarian State Painting Collections, Munich. The Choral of Leuthen (1887) and Blessing of Lützow's Black Volunteers in the Church at Rogau near Zobten in Silesia in the Year 1813 (1891) come next.

What age was Arthur Kampf when Lying in State of the Body of Wilhelm I in the Dom zu Berlin was made?Reveal the answer

24 years old: Lying in State of the Body of Wilhelm I in the Dom zu Berlin dates from 1888, and Arthur Kampf was born in 1864.

What are the ten most famous Arthur Kampf paintings?Reveal the answer

Lying in State of the Body of Wilhelm I in the Dom zu Berlin, The Choral of Leuthen, Blessing of Lützow's Black Volunteers in the Church at Rogau near Zobten in Silesia in the Year 1813, The Performer, Boy in red, Portrait of Hugo Reisinger, Good Friday in a French Church (Pinon), battle - of an amazone and fighters, coming home of the lost son and Iron rolling works. The ranking above gives each one's year and museum.

How many paintings did Arthur Kampf leave?Reveal the answer

Our catalog holds 11 works by Arthur Kampf, dated from 1886 to 1915.

In which museums do Arthur Kampf's masterpieces hang?Reveal the answer

Mostly in Alte Nationalgalerie (Berlin), Bavarian State Painting Collections (Munich) and Staatliche Kunsthalle Karlsruhe (Carlsruhe). The museum table above lists them all.

In which years did Arthur Kampf paint the most famous works?Reveal the answer

In 1880s: 3 of the 11 works on this page were made then, Lying in State of the Body of Wilhelm I in the Dom zu Berlin among them.

What are the first and the last famous originals of Arthur Kampf?Reveal the answer

On this page, the earliest is The Last Statement (1886) and the latest Good Friday in a French Church (Pinon) (1915).

Which Arthur Kampf works hang at the Alte Nationalgalerie?Reveal the answer

The Performer, Boy in red and Good Friday in a French Church (Pinon): the Alte Nationalgalerie, Berlin holds 3 of the works on this page.

Arthur Kampf: life and work

The Grandeur of History: The Life and Legacy of Arthur Kampf

In the vibrant landscape of late nineteenth-century German art, few names commanded as much immediate intrigue as Arthur Kampf. Born on September 28, 1864, Kampf emerged not merely as a painter, but as a chronicler of monumental moments, a master of the dramatic scale who could capture the weight of history upon a canvas. His journey began in the prestigious halls of the Kunstakademie Düsseldorf, where between 1879 and 1881, he refined his craft under the guidance of masters such as Peter Janssen. This rigorous academic foundation provided him with the technical prowess necessary to tackle the immense physical and emotional demands of history painting, a genre that requires both meticulous anatomical precision and a profound understanding of narrative tension.

The ascent of Kampf was nothing short of meteoric. In 1886, he presented the art world with The Last Statement, a work of such staggering proportions—measuring over eleven feet by twelve feet—that it ignited both fascination and controversy. The sheer audacity of its size, coupled with its provocative subject matter, catapult and thrust him into instant fame. This was not a painter content with quiet landscapes or intimate portraits; Kampf sought the epic. He followed this triumph in 1888 with Exhibition of remains of Emperor William I in Berlin, a painting that solidified his reputation as a premier specialist in historical documentation. Through these works, he demonstrated an uncanny ability to transform contemporary political and social events into timeless, mythic compositions.

A Master of the Düsseldorf School

As a prominent figure associated with the Düsseldorf school of painting, Kampf’s style was deeply rooted in the tradition of academic excellence, yet it possessed a unique vitality that prevented it from feeling stagnant. His technique allowed him to navigate the complexities of light and shadow to create atmosphere, often imbuing his large-scale scenes with a sense of palpable movement and gravity. His career saw him transition from the academic circles of Düsseldorf to the burgeoning art scene of Berlin, where he continued to teach and influence the next generation of German painters. His role as a professor at the Kunstakademie underscores his significance not just as a creator, but as an educator who helped shape the pedagogical standards of his era.

The breadth of his contributions can be seen in several key areas of his professional life:

  • Academic Leadership: His tenure as President of the Hochschule für Bildende Künste marked him as a pillar of the German institutional art world.
  • Historical Documentation: He possessed a rare talent for capturing the zeitgeist, turning significant political transitions into enduring visual legacies.
  • Artistic Recognition: His excellence was formally acknowledged through prestigious honors, including the Adlerschild des Deutschen Reiches.

Beyond the grand historical canvases, Kampf’s influence extended to international stages, such as his assignment to create the German pavilion for the International Art Exhibition in 1911. Though the twentieth century brought profound societal upheavals that would forever alter the trajectory of European art, the legacy of Arthur Kampf remained anchored in the strength of his compositions and his unwavering commitment to the power of the narrative. He passed away on February 8, 1950, leaving behind a body of work that serves as a window into the soul of a transformative era in German history.