In short
Of all the originals Conrad Neukam left, the most famous is Portrait of Kreszentia Faller, née Keßler (1796-1832) (1830), in the collection of the Augustiner Museum, Freiburg. Our catalog holds 2 works by Conrad Neukam; the gallery has kept the 2 the world admires most, each shown with its date, its museum and its story.
Conrad Neukam's top 10 paintings: the gallery's choice
The museums that keep Conrad Neukam's originals
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Conrad Neukam | Paintings from this list |
|---|---|---|---|
| Freiburg | 2 | Portrait of Kreszentia Faller, née Keßler (1796-1832), Portrait of Nikolaus Faller |
Conrad Neukam year by year: the originals that define each
1830 is the year of every dated Conrad Neukam work in this selection: here they are, ranked by fame.
Works per year
Pick a year to see its originals.
Collectors' questions about Conrad Neukam's paintings
Which work is Conrad Neukam most famous for?Reveal the answer
Portrait of Kreszentia Faller, née Keßler (1796-1832) (1830).
What age was Conrad Neukam when Portrait of Kreszentia Faller, née Keßler (1796-1832) was made?Reveal the answer
33 years old: Portrait of Kreszentia Faller, née Keßler (1796-1832) dates from 1830, and Conrad Neukam was born in 1797.
How many paintings did Conrad Neukam leave?Reveal the answer
Our catalog holds 2 works by Conrad Neukam.
In which museums do Conrad Neukam's masterpieces hang?Reveal the answer
Mostly in Augustiner Museum (Freiburg). The museum table above lists them all.
In which years did Conrad Neukam paint the most famous works?Reveal the answer
In 1830: 2 of the 2 works on this page were made then, Portrait of Kreszentia Faller, née Keßler (1796-1832) among them.
Which Conrad Neukam works hang at the Augustiner Museum?Reveal the answer
Portrait of Kreszentia Faller, née Keßler (1796-1832) and Portrait of Nikolaus Faller: the Augustiner Museum, Freiburg holds 2 of the works on this page.
Conrad Neukam: life and work
The Quiet Observer of Faces
Conrad Neukam lived during a time when a person's likeness was captured through the slow application of oil on canvas or fiberboard. His hands worked with the textures of the era, focusing on the specific details of those who sat before him. In the quiet rooms where he painted, he recorded the features of individuals like Kreszentia Faller, née Keßler, and Nikolaus Faller. These were not mere sketches but studies of presence, held within the frames of the Augustinermuseum in Freiburg im Breisgau.
His work carries the weight of the physical materials he chose. There is a difference in how the light settles on a canvas compared to the flatter, more direct surface of fiberboard. He moved between these mediums, capturing the subtle shifts in a sitter's expression. His portraits do not shout; they simply exist, documenting the people of his time with a steady, unhurried hand.
A Record of Presence
The paintings he left behind offer a glimpse into the social fabric of the early nineteenth century. Through his brush, we see the specificities of a person's life: the way a collar sits or the particular shade of a garment. His portraits of the Faller family are held in collections that preserve these small, human moments. He did not seek to change the world, but to hold it still for a moment.
His legacy is found in the archives of the Augustinermuseum. There, his oil paintings remain, preserved as evidence of a life spent looking closely at others. He was a German painter who understood that a face tells a story through its smallest lines and the way it meets the light.
