Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 28 teost Moritz Daniel Oppenheim meie kataloogis
Lühidalt
Marriage Portrait of Charlotte de Rothschild (1836) on Moritz Daniel Oppenheim maalide kõige silmapaistvam teos; originaal kuulub museumi Israel Muuseum, Jeruusalemma. Pärast seda suunatakse pilk The Presentation at the Synagogue (Das Schultragen) (1869) ja The Conclusion of the Sabbath (Sabbath-Ausgang) (1866) suunas. Meie kataloogis olevatest Moritz Daniel Oppenheim 28 teosest on need 27 kõige kuulsumat, millist igaüks on esitatud koos aasta, muuseumi ja põhjusega, miks teos on püsiv.
A young woman sits poised in a moment of quiet grace, her presence filling the space with a serene, romantic light. She is draped in voluminous white and silver sleeves that catch the soft, directional light, creating a play of shadows across the delicate folds of her gown. Her skin glows with a luminous quality, contrasting against the deep, lush greens of the fruit tree behind her. A warm gold…
A small hand reaches out to grasp the cold, metallic finials of a Torah binder. This object, sewn from strips of swaddling cloth used during circumcision, carries the weight of a child's name and a family's hope. Within the grand hall of the synagogue, the air feels heavy with the grey and black tones of an oil painting that captures a singular moment of transition. A father leans toward his…
Step closer and observe the quietude within this room. We find ourselves in a domestic space, a dining room caught in that delicate, flickering moment between the sacred rest of the Sabbath and the return to the labors of the week. The scene is centered upon a man lighting candles, a gesture that marks the havdalah ceremony. Around him, a multigenerational family and a Talmud student are gathered, their presence…
Moritz Daniel Oppenheim's "The Examination," painted in 1868, is more than just a domestic scene; it’s a poignant window into the heart of 19th-century Jewish family life. This intimate portrait, rendered with remarkable sensitivity and detail, captures a moment of quiet contemplation within a warmly lit living space – a space that speaks volumes about tradition, education, and familial bonds. The painting immediately draws the viewer in, not with grand…
A young woman is seated at a desk in this 1825 oil portrait. She is positioned slightly off-center, facing the viewer with a calm, steady expression. Her upper body and hands are the primary focus of this medium shot, captured at eye level. She wears a gown of a deep burgundy hue, the fabric appearing smooth and lustrous under the light. The sleeves and folds of the garment suggest a…
The Marriage Portrait of Charlotte von Rothschild is an oil on canvas painted by Moritz Daniel Oppenheim in 1836. The sitter is Charlotte von Rothschild, a German-born British socialite. She was a member of the Rothschild banking family of Naples. The portrait captures her at a moment of significant transition, marked by her family's prominent standing.
The Portrait of Kalmann Meyer Carl von Rothschild is an oil painting by the German artist Moritz Daniel Oppenheim. Created about 1851, this work captures a man of significant standing. Oppenheim was commissioned to paint several portraits of prominent members of the Rothschild banking dynasty, documenting their presence through the lens of mid-nineteenth-century realism.
This work is the Portrait of Adolph Carl von Rothschild, a formal depiction rendered by the German painter Moritz Daniel Oppenheim. Created about 1850, the portrait captures Baron Adolph Carl von Rothschild, a prominent figure within the influential Rothschild banking dynasty. The sitter's presence is marked by a quiet, dignified gravity that reflects his status during the mid-nineteenth century.
In the painting Jewish Wedding in Frankfurt by Moritz Daniel Oppenheim, the composition utilizes a medium close-up shot that focuses on the upper bodies of two central figures. These figures are positioned in the center of the frame against a dark, indistinct background. The perspective is set at eye-level, establishing a direct connection between the viewer and the subjects. The scene depicts a traditional Jewish wedding ceremony occurring in the…
The oil on canvas titled Sabbath Rest, also known as Sabbath-Ruhe auf der Gasse, was painted in 1866. This work belongs to the hand of Moritz Daniel Oppenheim, an artist born in 1800 in Hanau, Germany. He lived until 1882 in Frankfurt, Germany. The painting captures a specific moment of stillness, a pause in the rhythm of daily life.
The Kindling of the Hanukkah Lights1880 · Israel Muuseum
12
Shavuot (Pentecost) (Das Wochen- oder Pfingst-Fest)1880
13
The Bar Mitzvah Discourse (Bar-Mizwa-Vortag)1869 · The Jewish Museum
14
Sukkot (Feast of Tabernacles) (Das Laubhütten-Fest)1867 · The Jewish Museum
15
The Godfather Awaits the Child (Der Gevatter erwartet das Kind)1867 · The Jewish Museum
16
The Elector of Hesse Entrusting Mayer Amschel Rothschild (1743–1812), with His TreasureAscott House
17
The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)1834 · The Jewish Museum
18
The Wedding (Die Trauung)1866 · The Jewish Museum
19
Portrait of Fanny Mendelssohn Hensel1842 · The Jewish Museum
20
Self-Portrait1822 · Israel Muuseum
21
Lionel Nathan de Rothschild1835 · National Portrait Gallery
22
Self-Portrait1814 · The Jewish Museum
23
Seder (The Passover Meal) (Der Oster-Abend)1867
24
Otto von Bismark and Giuseppe Garibaldi Visiting St. Peter in Rome1878 · Israel Muuseum
25
The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)1833 · The Jewish Museum
26
Purim (Feast of Esther) (Das Purim-Fest)1873 · The Jewish Museum
27
Lavater and Lessing Visit Moses Mendelssohn1856
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
#15 The Godfather Awaits the Child (Der Gevatter erwartet das Kind)
#17 The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)
#25 The Return of the Volunteer from the Wars of Liberation to His Family Still Living in Accordance with Old Customs (Die Heimkehr des Freiwilligen aus den Befreiungskriegen zu den nach alter Sitte lebenden Seinen)
Kümne 4 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Moritz Daniel Oppenheim teosid | Selle nimekirja maalid |
|---|---|---|---|
 The Jewish Museum |
New York | 12 | The Presentation at the Synagogue (Das Schultragen), The Conclusion of the Sabbath (Sabbath-Ausgang), The Examination (Das Verhören) |
 Israel Muuseum |
Jeruusalemma | 9 | Marriage Portrait of Charlotte de Rothschild, Portrait of a Young Woman at her Desk, Marriage Portrait of Charlotte von Rothschild |
 Ascott House |
Leighton Buzzard | 1 | The Elector of Hesse Entrusting Mayer Amschel Rothschild (1743–1812), with His Treasure |
 National Portrait Gallery |
London | 1 | Lionel Nathan de Rothschild |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
In the quiet intensity of his 1814 Self-Portrait, we encounter more than just the likeness of a young man; we witness the dawn of a profound artistic identity. Moritz Daniel Oppenheim, a figure who would later become a pioneer of Jewish artistic representation in Germany, presents himself here with a striking blend of youthful ambition and classical poise. Holding his palette with a sense of quiet pride, the artist positions…
A young woman is seated at a desk in this 1825 oil portrait. She is positioned slightly off-center, facing the viewer with a calm, steady expression. Her upper body and hands are the primary focus of this medium shot, captured at eye level. She wears a gown of a deep burgundy hue, the fabric appearing smooth and lustrous under the light. The sleeves and folds of the garment suggest a…
A young woman sits poised in a moment of quiet grace, her presence filling the space with a serene, romantic light. She is draped in voluminous white and silver sleeves that catch the soft, directional light, creating a play of shadows across the delicate folds of her gown. Her skin glows with a luminous quality, contrasting against the deep, lush greens of the fruit tree behind her. A warm gold…
In the quiet intimacy of Moritz Daniel Oppenheim’s 1842 masterpiece, Portrait of Fanny Mendelssohn Hensel, we encounter more than a mere likeness; we enter a profound dialogue between light and identity. As a pivotal figure in the Romantic era, Fanny Hensel—the brilliant musical force and sister to Felix Mendelssohn-Bartholdy—is rendered here with a dignity that transcends the boundaries of a traditional portrait. Oppenheim, a pioneer in documenting the nuances of…
The Portrait of Kalmann Meyer Carl von Rothschild is an oil painting by the German artist Moritz Daniel Oppenheim. Created about 1851, this work captures a man of significant standing. Oppenheim was commissioned to paint several portraits of prominent members of the Rothschild banking dynasty, documenting their presence through the lens of mid-nineteenth-century realism.
A small hand reaches out to grasp the cold, metallic finials of a Torah binder. This object, sewn from strips of swaddling cloth used during circumcision, carries the weight of a child's name and a family's hope. Within the grand hall of the synagogue, the air feels heavy with the grey and black tones of an oil painting that captures a singular moment of transition. A father leans toward his…
A quiet domesticity defines this 1880 scene, where a Jewish family gathers to observe the Hanukkah ritual. The composition utilizes a deep perspective, drawing the eye from the foreground figures through an open doorway into a secondary room where others sit in repose. Soft, directional light enters from the left, casting gentle shadows that define the heavy drapery and the textures of period clothing. The palette is muted and monochromatic,…
Marriage Portrait of Charlotte de Rothschild (1836), Israel Muuseum, Jeruusalemma. Järgnevad The Presentation at the Synagogue (Das Schultragen) (1869) ja The Conclusion of the Sabbath (Sabbath-Ausgang) (1866).
36 aastat vanus: teos Marriage Portrait of Charlotte de Rothschild on pärinev aastast 1836 ning Moritz Daniel Oppenheim sündis aastal 1800.
Marriage Portrait of Charlotte de Rothschild, The Presentation at the Synagogue (Das Schultragen), The Conclusion of the Sabbath (Sabbath-Ausgang), The Examination (Das Verhören), Portrait of a Young Woman at her Desk, Marriage Portrait of Charlotte von Rothschild, Portrait of Kalmann Meyer Carl von Rothschild, Portrait of Adolph Carl von Rothschild, Jewish Wedding in Frankfurt ja Sabbath Rest. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 28 teost kunstnikult Moritz Daniel Oppenheim, mis on pärinevad ajastust 1814 kuni 1880.
Peamiselt The Jewish Museum (New York), Israel Muuseum (Jeruusalemma) ja Ascott House (Leighton Buzzard) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1860s: 10 27 sellel lehel olevat teost on sellel perioodil loodud, მათart közül The Presentation at the Synagogue (Das Schultragen).
Sellel lehel on kõige vanem teos Self-Portrait (1814) ja kõige värskeim The Kindling of the Hanukkah Lights (1880).
Woman (6), Man (6) ja Jewish family life (3), kogu selle lehekülje 27 teose kohta.
Oil On Canvas, 13 teoseks 27 töödelt sellel lehel.
German romanticism, seda lähtudes selle lehe originaalteostest.
The Presentation at the Synagogue (Das Schultragen), The Conclusion of the Sabbath (Sabbath-Ausgang) ja The Examination (Das Verhören): The Jewish Museum, New York säilitab 12 selle lehel olevat teost.
Moritz Daniel Oppenheim (1800–1882) seisab Saksa kunstiajaloos eralduna ja sügavalt tähtsana üks juudi kunstilise esinduse tõeline pioneer. Saksamaal, Hanau linnas sündinud kunstniku elu ja looming olid sügavalt juurdunud püüdlusse dokumenteerida ning tähistada juudi elu ja kultuuri nüansse rahuldamatult muutliku üheksندا sajandi jooksul. Teda on sageli peetud esimeseks juudi maalariks, kes saavutas laialdast tunnustust peavarusas asuvad kunstiväljundid, liikudes kaugemale pelgalt biograafilistest detailidest, et luua teoskog, mis toimib elutähtsa visuaalse mälustikuna kogukonnale, kes püüdis navegatsioonit moderniseerumise keerulistes võrgustikes säilitada oma pühasid traditsioone.
Oppenheimi kunstiline teekond algas põhilise õppimisega Conrad Westermayri juures tema sünnilinnas, kus ta esimest korda omastas saksa romantilist maalipõhimõtteid. Kuid tema tõeline professionaalne tõus algas seitsmete aasta vanuses Müncheni Kunstakadeemias liitumisega. Just nendes prestiižsetes saalides teritas ta oma tehnilist meistriklassi koos selliste kaasajatega nagu Wilhelm Leibl ja Johann Baptist Eberhard Krauss. Horisonti laiendades alustas Oppenheim transformaatilist õppimisaega välismaal, rändates Pariisi, et õppida Jean-Baptiste Regnaaltilt, ning hiljem Rooma. Itaalias, suuretede nagu Bertel Thorwaldsen ja nazareenide maalar Johann Friedrich Overbeck juhendamisel, arenes tema stiil sofisteetse seguniku becomeks täpne observatsioon ja klassikaline mõju. See Rooma periood oli eriti murdilis, kuna see infuseeris tema tööde ajaloolise gravitatsiooniga, mis kujundas hiljem tema kirjeldusi juudi rituaalidest ja igapäevasest elust.
Oppenheimi panus kunstile peitub tema võimes muuta kodune sfäär sügavaks kultuuriliseks narratiiviks. Tema maalid keskenduvad sageli juudi pereluugi intiimsetele stseenidele, tabades rituaalide vaikset väärikust ja kogukonna siduste soojust. Tema pintslitõlg läbi muutub igapäevane monumentaalneks. Teostes nagu Sabbati lõpp (Sabbath-Auslik) kasutab ta meisterlikku realismist ja peidetud sümbolistikat, et kujundada puudutavat üleminekut pühasest sabbati puhkusest tagasi ajalikku maailma, kutsumates vaatajat tunnistama peretraditsiooni pühadust.
Tema võime koota ajalooline kontekst isulise emotsiooniga on kõige selgemalt nähtav tema žanrimalides, mis dokumenteerivad konkreetseid kultuurilisi sündmusi. Näiteks:
Lisaks tehnilisele oskusele on Oppenheimi töö lahutumatu osa Wissenschaft des Judentums liikumisest — teaduslikust püüdeldusest kinnitada juudi ajalugu ja kultuur kui austatud akadeemiline valdkonnana. Tema maalid toimisid visuaalse uurimistööna, pakkudes väärikat ja autentset esitlust kogukonnale, mis oli Euroopa kunstikanonis sageli marginaalne. Järgides juudi teemade kujundamisel sama detailset, väärikast ja romantilist suuremoodust, mida tavaliselt varudati aristokraatlikud või müütilised teemad, väljakutsus ta olemasolevaid eelarvamusi ning kinnitas juudi identiteedi olulisust Saksa kultuurilises koodistikus.
Lõplikult on Moritz Daniel Oppenheimi pärand vastupidluse ja nähtavuse pärand. Ta ei maalinud pelgalt stsène; ta lõi visuaalse keele üleminekuera jaoks. Tema võime tabada õranet tasakaalu vanat ja uuega tagab, et tema töö jääb elutähtevaks peegelduseks üheksdasaja juudi kogemuse mõistamiseks, tehes temast asendamatu tegelase nii Saksa romantilismis kui ka juudi kunsti globaalses narratiivis.
