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2 kulubumatamatum Hermann Daur maali, galeriiselektsioon
Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 2 teost Hermann Daur meie kataloogis
Lühidalt
Kõigist Hermann Daur jäetud originaalteostest on kõige kuulsam Portrait of Esther Kern (1912), mis kuulub Augustiner Museum kogele linnas Freiburg. Meie kataloogist löytyb 2 teost kunstnikult Hermann Daur; galeriist on säilitatud 2 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
1870 – 1925, Stetten
Enamama teoseid: Augustiner Museum
Hermann Daur top 10 maalist: galeriis valitud teosed
Muuseumid, kus on säilitatud Hermann Daur originaalteosed
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Hermann Daur teosid | Selle nimekirja maalid |
|---|---|---|---|
 Augustiner Museum |
Freiburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Hermann Daur aasta-aastaga: originaalteosed, mis defineerivad iga perioodi
Kõik selles valikus olevad dateeritud Hermann Daur teosed on aastatest 1912 kuni; siin on need kubusena, kululäku järjekorras.
Teosed aasta kaupa
Vali aasta, et näha originaale.
Sammlajate küsimused Hermann Daur maalide kohta
Millise teosega on Hermann Daur kõige kuulsam?Paljasta vastus
Portrait of Esther Kern (1912)
Kui vana oli Hermann Daur, kui teos Portrait of Esther Kern loodi?Paljasta vastus
42 aastat vanus: teos Portrait of Esther Kern on pärinev aastast 1912 ning Hermann Daur sündis aastal 1870.
Kui palju maali Hermann Daur jäeti?Paljasta vastus
Meie kataloogist leibab 2 teost kunstnikult Hermann Daur.
Mitteks muuseumides rihangavad Hermann Daur meistriteosed?Paljasta vastus
Peamiselt Augustiner Museum (Freiburg) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Millah aastades maalas Hermann Daur oma kuulsamaid teoseid?Paljasta vastus
Ajal 1912: 2 2 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Portrait of Esther Kern.
Millised Hermann Daur teosed on Augustiner Museum näituses?Paljasta vastus
Portrait of Esther Kern ja Portrait of Bianca Kern-Hunziker: Augustiner Museum, Freiburg säilitab 2 selle lehel olevat teost.
Hermann Daur: elu ja looming
The Quiet Presence of Albert Hermann Daur
The year 1870 marks the beginning of a life that would eventually find its end in Ötlingen in 1925. Born in Stetten, Albert Hermann Daur operated within a specific German tradition, capturing the essence of his subjects and the stillness of the landscape. His brushwork does not shout; it observes. In the quietude of his compositions, one finds a focus on the tangible reality of the era, from the intimate details of a human face to the structural simplicity of a mill nestled in a valley.
His work often centers on the interplay between light and form. In his 1912 oil on canvas, Vorfrühling, Mühle im Kandertal, the scene captures a moment of seasonal transition. The mill sits within the landscape, a fixed point in a changing environment. There is a deliberate weight to his application of oil, a method that prioritizes the physical presence of the subject over mere decoration.
A Study in Form and Subject
Daur’s output reveals a commitment to specific, grounded subjects. He moved between the psychological depth of portraiture and the structural clarity of landscape painting. His technical approach is defined by several key elements:
- The use of oil on canvas to achieve depth in portraiture.
- A focus on the specificities of German topography, such as the Kandertal region.
- A signature style that often included a direct, legible mark on the work itself.
The 1912 Portrait of Bianca Kern-Hunziker serves as a primary example of his ability to hold a gaze. This work, held in the Augustinermuseum in Freiburg, demonstrates his capacity to translate a person into a permanent visual record. He does not rely on artifice, but on the directness of the likeness.
The Final Years and Legacy
By the time of his death in 1925, Daur had established a body of work that remains tied to the specificities of his time and place. His paintings are not abstractions; they are records of a world in transition. The physical remnants of his practice, such as the inscriptions found on the reverse of frames, provide a direct link to his hand. He remains a figure of the German landscape and portrait tradition, a painter who sought to pin down the fleeting light of a spring morning or the steady gaze of a sitter.