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August von der Embdeが遺したオリジナル作品の中で最も有名なものは、KasselのNew Galleryに収蔵されているPortrait of Wilhelmine Caroline von Hessen-Kassel (1818)です。 それに次いで、Portrait of Countess Louise Bose as a Child (1820)とSelf-portrait (1819)が続きます。 August von der Embdeによる7点の作品をカタログに掲載しています。当ギャラリーでは、世界が称賛する7点を選定し、制作年、所蔵美術館、そしてその背景にある物語とともにご紹介しています。
August von der Embdeの代表作10選:ギャラリー厳選の作品集
August von der Embdeの原画を所蔵する美術館
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | August von der Embdeの作品 | このリストの絵画 |
|---|---|---|---|
| Kassel | 6 | Portrait of Wilhelmine Caroline von Hessen-Kassel, Portrait of Countess Louise Bose as a Child, Self-portrait |
August von der Embdeの年代別名作:各時代を象徴するオリジナル作品
年代別作品数
その時代を象徴する名作を見るために、年代を選択してください。
August von der Embdeの絵画に関するコレクターからの質問
August von der Embdeの代表作は何ですか?答えを見る
Portrait of Wilhelmine Caroline von Hessen-Kassel (1818)(New Gallery, Kassel)。次いでPortrait of Countess Louise Bose as a Child (1820)、Self-portrait (1819)が続きます。
Portrait of Wilhelmine Caroline von Hessen-Kasselが制作されたとき、August von der Embdeは何歳でしたか?答えを見る
38歳:Portrait of Wilhelmine Caroline von Hessen-Kasselは1818年の作品で、August von der Embdeの生年は1780年です。
August von der Embdeが遺した作品数は?答えを見る
当カタログには、1818年から1839年にかけて制作されたAugust von der Embdeによる7点の作品が収められています。
August von der Embdeの名作は、どの美術館に収蔵されていますか?答えを見る
主にNew Gallery (Kassel)に所蔵されています。上記の美術館一覧にすべて記載されています。
August von der Embdeが最も有名な作品を多く描いたのは何年ですか?答えを見る
1830s年:このページにある全7作品のうち、4作品がその時期に制作されました。そのうちPortrait of Heinrich Ferdinand Graf zu Isenburg-Philippseich作品が含まれます。
August von der Embdeによる最初と最後の代表的なオリジナル作品は何ですか?答えを見る
このページでは、最も古い作品はPortrait of Wilhelmine Caroline von Hessen-Kassel (1818)、最新の作品はPortr. of three brothers playing with flowers (1839)です。
New GalleryにはどのAugust von der Embdeの作品が展示されていますか?答えを見る
Portrait of Wilhelmine Caroline von Hessen-Kassel, Portrait of Countess Louise Bose as a Child と Self-portrait:New Gallery, Kasselには、このページに掲載されている作品のうち6点が所蔵されています。
August von der Embde:生涯と作品
The Journey of a Master: The Life of August von der Embde
In the heart of the German landscape, during an era defined by the transition from classical traditions to the burgeoning romantic spirit, the life of August von der Embde unfolded with the quiet determination of a true craftsman. Born on December 2, 1780, in Kassel, his early years were rooted in the tactile reality of manual labor; as the son of a master carpenter, he initially learned the precision of the woodworking trade. Yet, the call of the brush proved more resonant than the chisel. This foundational discipline of craftsmanship would later manifest in the meticulous detail and structural integrity of his painted works, bridging the gap between the physical world of form and the ethereal realm of fine art.
His formal artistic odyssey began at the Kassel Academy, where from 1799 to 1804, he honed the technical foundations that would support a lifetime of exploration. This period was not merely one of academic study but of profound observation. As he traveled through the vibrant cultural hubs of Germany—visiting Dresden, Düsseldorf, and Munich—he did more than just witness the art of his era; he engaged in a deep, transformative dialogue with the masters of the past. His travels were punctuated by periods of intense study, where he sought to capture the essence of greatness through the act of copying, a practice that allowed him to internalize the brushwork and light of the Old Masters.
A Legacy of Mimicry and Mastery
One of the most remarkable chapters in Embde’s career was his ability to inhabit the styles of those who came before him. He possessed a rare, almost scholarly devotion to the lineage of European painting. In 1803, he achieved a significant milestone by becoming one of the first artists to independently reproduce the Angel from Raphael's legendary Sixtine Madonna. This feat was not merely an exercise in imitation but a profound way of reclaiming and reinterpreting classical beauty for his own generation. Through such works, he bridged the gap between the Renaissance ideal and the nineteenth-century aesthetic.
As his horizons expanded, so did his influences. His time in Vienna brought him into the orbit of the Füger school, particularly under the influence of the historical and portrait painter Josef Abel. This exposure to the refined, academic style of Vienna added a layer of sophistication to his repertoire, blending the rigorous structure of German training with the graceful, narrative elegance found in Austrian portraiture. His development was a continuous loop of learning, traveling, and absorbing the diverse artistic languages of the various German-speaking residencies he inhabited.
The Enduring Impression
Though history often remembers the innovators who broke entirely from tradition, the significance of an artist like August von der Embde lies in his role as a custodian of excellence. He served as a vital link in the chain of artistic continuity, ensuring that the techniques and spiritual weight of the masters were preserved through his careful hands. His life, which concluded in Kassel on August 10, 1862, represents a period of profound cultural synthesis.
To look upon the works associated with his name is to witness a lifetime of devotion to the craft. His legacy remains etched in the meticulous way he approached every canvas, treating each subject with the reverence of a historian and the precision of a master builder. Through his eyes, we see the echoes of Raphael and the structured elegance of the Viennese academy, all unified by the singular, dedicated spirit of a man who found his true calling far beyond the carpenter's workshop.





