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Interior with a woman reading. (1905) je slika autora Edvard Weie koja privlači najviše pogleda. Nakon toga, pogled se usmjerava na Self-portrait (1905) i Blue Room with Seated Figure (1907). Među 41 djela umjetnika Edvard Weie u našem katalogu, ovih 39 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
In this 1905 oil painting, we find ourselves invited into a private, domestic sanctuary. The scene is composed with a deliberate asymmetry, drawing the eye first to a woman seated in repose on the left. She leans back, lost in a book, her presence anchoring the room's stillness. A large wooden table dominates the foreground, its polished surface catching the light and creating a sense of tangible depth. Through a…
This oil painting, executed in 1905, presents a close-up view of a man's face set against a dark, undifferentiated background. The subject is positioned at eye-level, looking directly toward the viewer with a serious and contemplative expression. His hair is light brown and wavy, and he possesses a mustache. A white shirt collar is visible at the base of the neck, providing a sharp tonal contrast to the surrounding shadows.…
In Blue Room with Seated Figure by Edvard Weie, a quiet stillness settles over a domestic interior. The scene unfolds in a medium shot, centering on a solitary woman who rests upon a long, dark sofa. She sits amidst a room defined by large windows that invite the outside world in. The perspective feels intimate, as if the viewer is standing at a slightly elevated, eye-level viewpoint, looking into this…
In "Self-Portrait with a Straw Hat" by Edvard Weie, the artist presents a close-up study of a single male figure. The composition focuses tightly on the head and upper shoulders, positioned slightly off-center to disrupt a perfect symmetry. A mustache defines the subject's face, set beneath the brim of a boater-style straw hat marked by a dark band. The gaze is direct, meeting the viewer from an eye-level perspective that…
Emma Weie, the Artist's Sister is an oil portrait created by the Danish painter Edvard Weie. The work, executed in 1909, depicts the artist's sister in a seated position. The subject is presented in a medium shot, positioned slightly to the right of the center of the vertical composition.
There is a profound stillness in this 1908 oil painting, a moment captured at the edge of day. We find an elderly woman seated within a shadowed, enclosed space, perhaps a vehicle, as the light of the city begins to flicker in the distance. The composition draws the eye toward her presence, using a vertical orientation to anchor her against a sprawling, dimly lit cityscape. She holds an umbrella, a…
The sun hangs high and diffused over a rugged, rocky landscape, casting a soft light across a scene of profound stillness. Two figures inhabit this outdoor world, their presence felt through gestural, broken brushstrokes that prioritize the essence of light over the precision of form. In the lower left foreground, a figure sits amidst the stones, while further back, another figure stands, draped in soft whites and pinks that catch…
This work is the Self-Portrait by Edvard Weie. Painted in 1915, it presents a direct encounter with the artist himself. Weie, a Danish Modernist painter, turned his gaze inward to capture his own likeness during a significant period of his creative development.
Poseidon Rushing over the Sea Surrounded by Nereids and Tritons is an oil on canvas work by the Danish Modernist painter Edvard Weie. Executed in 1917, the piece belongs to a period in which the artist explored mythological and literary themes through a lens of evolving abstraction. The composition centers on the god Poseidon, navigating a turbulent seascape.
There is a certain stillness that settles over a garden when the afternoon light begins to shift. In this 1917 work, we find ourselves placed within the intimate confines of a garden on the island of Christiansø. Three figures are gathered near a white wooden bench, their presence felt through the weight of their forms rather than the precision of their features. The scene captures a moment of social interaction,…
Portrait of a Boy1920 · Statens Museum For Kunst
12
Portrait of Bent von Müllen as a Boy1918 · Statens Museum For Kunst
13
Portrait of a Boy1923 · Statens Museum For Kunst
14
Standing Female Nude1923 · Statens Museum For Kunst
15
Portrait. The Barrister Niels Thorup1941 · Statens Museum For Kunst
16
Outside the Gates of Cività d'Antino1907
17
Boats at the Quay in Christianshavn1908
18
View of Wilders Square at Christianshavn. Evening, 19061906 · Statens Museum For Kunst
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Utsikt over Højbroplads1911 · National Museum of Art, Architecture and Design
20
The Joy of Life1911 · Statens Museum For Kunst
21
From Amalfi1907 · Statens Museum For Kunst
22
Trees on Christianshavns Vold1908 · Statens Museum For Kunst
23
Refshaleøen. The Copenhagen Harbour1907 · Statens Museum For Kunst
24
Landscape, Christiansø1911 · Statens Museum For Kunst
25
Mindet, Christiansø1912 · Statens Museum For Kunst
26
From Quai de la Tournelle, Paris1912 · Statens Museum For Kunst
27
Landscape with Haystacks1916 · Statens Museum For Kunst
28
Nereids and Tritions1917 · Statens Museum For Kunst
29
Landscape from Christiansø1914 · Statens Museum For Kunst
30
Dante and Vergil in the Underworld1913 · Statens Museum For Kunst
31
Two Genii. Sketch1922 · Statens Museum For Kunst
32
Still Life with Oranges1922 · Statens Museum For Kunst
33
Romantic Fantasy1922 · Statens Museum For Kunst
34
Landscape1918 · Statens Museum For Kunst
35
The Mail Boat Arriving, Christiansø1920 · Statens Museum For Kunst
36
Still Life with Oranges in a Basket1923 · Statens Museum For Kunst
37
Study after Delacroix's "Dante og Vergil"1925 · Statens Museum For Kunst
38
A Forest Road1932 · Statens Museum For Kunst
39
Faun and Nymph1940 · Statens Museum For Kunst
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
2 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Edvard Weie | Slike iz ovog popisa |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 32 | Self-Portrait with a Straw Hat, Emma Weie, the Artist's Sister, The Artist's Mother |
 National Museum of Art, Architecture and Design |
Oslo | 1 | Utsikt over Højbroplads |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
In this 1905 oil painting, we find ourselves invited into a private, domestic sanctuary. The scene is composed with a deliberate asymmetry, drawing the eye first to a woman seated in repose on the left. She leans back, lost in a book, her presence anchoring the room's stillness. A large wooden table dominates the foreground, its polished surface catching the light and creating a sense of tangible depth. Through a…
The sun hangs high and diffused over a rugged, rocky landscape, casting a soft light across a scene of profound stillness. Two figures inhabit this outdoor world, their presence felt through gestural, broken brushstrokes that prioritize the essence of light over the precision of form. In the lower left foreground, a figure sits amidst the stones, while further back, another figure stands, draped in soft whites and pinks that catch…
In Portrait of a Boy by Edvard Weie, a young boy emerges from a somber, moody atmosphere. The composition is vertically oriented, pulling the eye upward toward the subject's face. He is positioned off-center, caught in a three-quarter view as he looks slightly toward the viewer. This placement creates a sense of quiet, unscripted presence. The boy's pale skin tones stand out sharply against a heavy, dark environment. He seems…
A solitary figure emerges from a sea of monochromatic shadows, caught in a moment of profound stillness. This is Niels Thorup, rendered not through the meticulous lines of a traditional portrait, but through the raw, energetic language of form and light. The composition centers on his standing presence, a sculptural silhouette that seems to push against the very edges of the frame. There is a weight to his posture, a…
Interior with a woman reading. (1905). Sljedeći su Self-portrait (1905) i Blue Room with Seated Figure (1907).
26 godina: Interior with a woman reading. datira iz 1905, a Edvard Weie je rođen/a 1879.
Interior with a woman reading., Self-portrait, Blue Room with Seated Figure, Self-Portrait with a Straw Hat, Emma Weie, the Artist's Sister, The Artist's Mother, Lady with Parasol, Self-Portrait, Poseidon Rushing over the Sea Surrounded by Nereids and Tritons i In the Vicar's Garden, Christiansø. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 41 djela umjetnika Edvard Weie, datiranih od 1905 do 1941.
Većinom u Statens Museum For Kunst (Kopenhagen) i National Museum of Art, Architecture and Design (Oslo). Gornja tablica muzeja navodi sve njih.
U 1910s: 15 od 39 djela na ovoj stranici nastalo je tada, od čega je Lady with Parasol Lady with Parasol.
Na ovoj stranici najstarije djelo je iz Interior with a woman reading. (1905), a najnovije iz Portrait. The Barrister Niels Thorup (1941).
Woman (6), Man (4) i Chair (3), kroz svih 39 djela na ovoj stranici.
Oil On Canvas, za 10 od 39 djela na ovoj stranici.
Self-Portrait with a Straw Hat, Emma Weie, the Artist's Sister i The Artist's Mother: Statens Museum For Kunst, Kopenhagen posjeduje 32 djela s ove stranice.
Rođen u Kopenhagenu, u Danskoj, 18. studenog 1879. godine, Edvard Weie suočio se s nedaćama teškog djetinjstva. Njegov otac otišao je dok je dječak još bio vrlo mlad, ostavljajući obitelj da se bori protiv teškog pritiska siromaštva. Kako bi pomogao kućanstvu da preživi, mladi Edvard preuzeo je posao dostavljača novina, svakog jutra šetajući ulicama kako bi distribuirao novine prije početka školskih sati. Te rane godine truda praćeni su radom kao kućni moler, zanatom koji je njegovim rukama održavao okupiranost praktičnim aspektima boje i površine.
Unatoč tim ekonomskim teretima, u njemu je opstajala tiha ambicija za umjetnost. Edvard Weie tražio je formalno obrazovanje i putovao u Kopenhagen kako bi se prijavio za upis u Kraljevsku dansku akademiju likovnih umjetnosti. Međutim, institucija ga nije prihvatila, a to odbijanje moglo je okončati njegove aspiracije da su okolnosti bile drugačije. Umjesto toga, pronašao je drugačiji put prema svom pozivu. Godine 1905. upisao je Kunstnernes Frie Studieskoler, gdje je studirao pod vodstvom Kristiana Zahrtmanna. Upravo je u toj školi prvi put upoznat sa suptilnim promjenama i novim strujama moderne umjetnosti.
Rane godine njegovog kreativnog života obilježene su potragom za smislom unutar tradicionalnih umjetničkih struktura. Karijeru je započeo okrenuvši se starim pričama, stvarajući djela koja su svoju snagu crpila iz mitoloških ili književnih tema. Ta su rana istraživanja bila duboko ukorijenjena u narativima prošlosti, nastojeći prihvatiti samu esenciju legenda putem kista. Međutim, kako je njegova vizija sazrijevala, fokus se pomaknuo s tih ispričanih subjekata prema opipljivoj stvarnosti svijeta koji ga je okruživao. Pronašao je novi smisao u tihom promatranju svakodnevnog života, usmjerivši svoj pogled prema užurbanim uličnim scenama i ritmičkim pogledima kopenhaške luke.
Ovaj prijelaz iz književnog u opservacijski bio je praćen dubokom evolucijom u njegovom rukovanju formom i bojom. Kako su godine prolazile, njegove su kompozicije prolazile kroz stalnu transformaciju, odbacujući doslovne detalje u korist sažetijeg izraza. Njegova djela postajala su sve apstraktnija, udaljavajući se od prepoznatljivih oblika grada i mora prema esencijaliziranom jeziku svjetlosti i pigmenta. Ta potraga za apstrakcijom nije bila iznenadni odlazak, već postepeno otbacivanje suvišnog. Njegova posvećenost ovoj evoluirajućoj viziji priznata je 1925. godine, kada je dodijeljena medalja Eckersberg.
Put kojim se kretalo njegovo stvaralaštvo oblikovalo je društvo koje je okruživalo i pejzaži koji su ga privlačili. Godine 1907. putovao je u Italiju uz svog učitelja, Kristiana Zahrtmanna. To je izlet nudio uvid u potpuno drugačiju svjetlost, iako je to partnerstvo na kraju završilo nesuglasicama. Nakon povratka u Dansku, njegov fokus przeselio se prema krutom izolaciji otoka Christiansø. Skoro deset godina, od 1911. do 1920. godine, proveo je tamo dio svake godine, pronalazeći ritam u specifičnoj atmosferi otoka.
Upravo tijekom tih godina na Christiansøju susreo je švedskog slikara Karla Isaksona. Ta dva čovjeka dijelila su prostor otoka, a njihova prisutnost označila je značajno poglavlje u Weiejevom životu. Kada je Isakson preminuo početkom 1922. godine, taj gubitak ostavio je prazninu koju je Weie ispunio intenzivnim proučavanjem. Okrenuo je pažnju prema načinu na koji je Isakson koristio boju, upijajući te lekcije i utkano ih u samu tkaninu vlastitog, evoluirajućeg stila.
U svojim posljednjim godinama, Weie se udaljio od utvrđenih krugova umjetničkog svijeta. Nikada nije težio usklađivanju s bilo kojim specifičnim umjetničkim pokretom, radije birajući da slijedi vlastiti unutarnji kompas. Ta je neovisnost često stavljala u nesklad s njegovim suvremenicima, budući da je bio poznat po pisanju oštrih, kritičkih tekstova za novine i časopise. Osjećao je duboku krizu unutar suvremene danske umjetnosti, vjerujući da je ona izgubila svoje bitne ljudske vrijednosti. To je uvjerenje, činilo se, vodilo prema njegovom sve samoćnijem postojanju.
Kako je stario, izlagao je svoje radove sve rjeđe. Njegov se fokus premjeo s platna na pisana riječ, dok je većinu preostalog vremena posvetio pisanju knjige. To je djelo, pod naslovom Poesi og Kultur, trebalo sažeti njegova duboko zastupljena mišljenja o umjetnosti i društvu. Tom je tomu, zahvaljujući naporima njegove udovice, objavljeno tek 1951. godine, nekoliko godina nakon njegove smrti.
Umjetnikov život završio je 1943. godine u Frederiksbergu. Nakon smrti, pokonao je se na Vestre Kirkegard u Kopenhagenu. Za sobom je ostavio opus koji je postajao sve apstraktniji, odražavajući cijeli život izložen intenzivnoj samokritici i neumornoj potrazi za osobnim izražavanjem.
