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2 najpoznatijih djela umjetnika Hermann Daur, galerijska selekcija
Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 2 djela Hermann Daur u našem katalogu
Ukratko
Od svih originala koje je Hermann Daur ostavio, najpoznatiji je Portrait of Esther Kern (1912) u kolekciji muzeja Augustiner Museum, Freiburg. Naš katalog sadrži 2 djela umjetnika Hermann Daur; galerija je čuvala onih 2 koja svijet najviše divi, a svako je prikazano s datumom nastanka, muzejom i pričanom.
1870 – 1925, Stetten
Najviše djela: Augustiner Museum
Top 10 djela umjetnika Hermann Daur: izbor galerije
Muzeji koji čuvaju originalna djela umjetnika Hermann Daur
1 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Hermann Daur | Slike iz ovog popisa |
|---|---|---|---|
 Augustiner Museum |
Freiburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Hermann Daur iz godine u godinu: originalna djela koja definiraju svaku od njih
1912 je godina svakog datiranog djela umjetnika Hermann Daur u ovom odabiru: evo ih, rangiranih prema slavi.
Djela po godinama
Odaberite godinu kako biste vidjeli originalna djela.
Pitanja kolekcionara o slikama umjetnika Hermann Daur
Po kojem je djelu Hermann Daur najpoznatiji/a?Otkrijte odgovor
Portrait of Esther Kern (1912)
Koliko je godina Hermann Daur imao/la kada je nastalo djelo Portrait of Esther Kern?Otkrijte odgovor
42 godina: Portrait of Esther Kern datira iz 1912, a Hermann Daur je rođen/a 1870.
Koliko je slika ostavio/la Hermann Daur?Otkrijte odgovor
Naš katalog sadrži 2 djela umjetnika Hermann Daur.
U kojim se muzejima nalaze remek-djela umjetnika Hermann Daur?Otkrijte odgovor
Većinom u Augustiner Museum (Freiburg). Gornja tablica muzeja navodi sve njih.
U kojim je godinama Hermann Daur naslikao svoja najpoznatija djela?Otkrijte odgovor
U 1912: 2 od 2 djela na ovoj stranici nastalo je tada, od čega je Portrait of Esther Kern Portrait of Esther Kern.
Koji se radovi umjetnika Hermann Daur nalaze u muzeju Augustiner Museum?Otkrijte odgovor
Portrait of Esther Kern i Portrait of Bianca Kern-Hunziker: Augustiner Museum, Freiburg posjeduje 2 djela s ove stranice.
Hermann Daur: život i djelo
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.