11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 3点の Hermann Stilkeの作品がカタログにあります
要約すると
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)はHermann Stilkeの作品の中で最も注目を集めている絵画です。原画はサンクトペテルブルクのエルミタージュ美術館に所蔵されています。 その後、視線はJoan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843)とAppearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)へと移ります。 当カタログに含まれるHermann Stilkeの3点の作品のうち、これら3点は最も有名な作品です。制作年、所蔵美術館、そして時代を超えて愛される理由とともに、一点もののオリジナル作品をご紹介します。
1. Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) 1843
2. Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) 1843
3. Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) 1843
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) is a religious oil on canvas painting by Hermann Stilke. Executed in 1843, the work originates from Germany. It functions as the right-hand component of a larger three-part narrative cycle focused on the life of the Maid of Orleans.
Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) is a work by the German painter Hermann Stilke. Executed in 1843, the oil on canvas composition functions as the kinetic core of a larger three-part narrative cycle. This central panel captures the decisive Battle of Patay, a significant engagement in the Hundred Years' War.
We are looking at Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych), a significant religious art object painted by Hermann Stilke. This specific piece was created in Germany in 1843. It represents the left-hand component of a larger triptych, a structural arrangement that allows for a narrative progression through the life of the subject.
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
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 | Hermann Stilkeの作品 | このリストの絵画 |
|---|---|---|---|
 エルミタージュ美術館 |
サンクトペテルブルク | 3 | Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych), Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych), Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) |
ここに表示されているHermann Stilkeの年代別オリジナル作品はすべて1843年のもので、知名度の高い順に並んでいます。
年代を選択して、当時のオリジナル作品を見る
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) is a religious oil on canvas painting by Hermann Stilke. Executed in 1843, the work originates from Germany. It functions as the right-hand component of a larger three-part narrative cycle focused on the life of the Maid of Orleans.
1843のその他の作品
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)（エルミタージュ美術館, サンクトペテルブルク）。次いでJoan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843)、Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)が続きます。
40歳：Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych)は1843年の作品で、Hermann Stilkeの生年は1803年です。
当カタログにはHermann Stilkeによる作品が3点ございます。
主にエルミタージュ美術館 (サンクトペテルブルク)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。
1843年：このページにある全3作品のうち、3作品がその時期に制作されました。そのうちJoan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych)作品が含まれます。
このページに掲載されている3点の作品におけるWoman (3), Smoke (2) と Sky (2)
このページに掲載されている全3作品のうち、3作品のOil On Canvas
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych), Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) と Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych)：エルミタージュ美術館, サンクトペテルブルクには、このページに掲載されている作品のうち3点が所蔵されています。
Born in Berlin in 1803, Anton Hermann Stilke did not initially intend to spend his days with a brush in hand. His early inclinations leaned toward agriculture, yet the pull of the visual arts proved too strong to resist. He began his formal training at the Berlin Academy under Carl Wilhelm Kolbe, finding his footing within the structured traditions of German academic art. By 1820, he was presenting his work to the public, marking the start of a career defined by rigorous study and a deep connection to the Düsseldorfer Malerschule.
His education was a sequence of significant encounters with the masters of his era. After leaving Berlin, he moved to the Kunstakademie Düsseldorf to study under Peter von Cornelius. This period of intense academic discipline shaped his approach to large-scale compositions and historical subjects. He later expanded his horizons through travels to Northern Italy and Rome, staying in the latter until illness forced a return home in 1833. These years abroad provided him with a direct connection to classical influences that would inform his later religious and romantic themes.
Stilke’s professional life was marked by significant commissions that required both technical skill and endurance. One of his most notable achievements involved the decoration of the Knights' Hall at Stolzenfels Castle near Koblenz. Working for the Prussian Crown Prince, Frederick William IV, he spent years between 1842 and 1846 executing large-scale murals. These works, known as the Six Knightly Virtues, demonstrated his ability to handle the demanding medium of fresco painting.
His talent for monumental work extended beyond the Rhineland. In Munich, he contributed frescoes to the arcades of the Hofgarten. His repertoire often focused on the dramatic and the spiritual, seen in works such as:
As his career progressed, Stilke transitioned from a student and teaching assistant to a position of academic authority. After years spent moving between Düsseldorf and Munich, he settled back in Berlin by 1850. His standing within the artistic community was formally recognized in 1854 when he was named a professor at the Berlin Academy, an institution he had been associated with since 1835.
His personal life was intertwined with the art world through his marriage to Sophia Hermine Stilke, a noted watercolorist and illustrator. Together, they navigated the prominent circles of the German art scene. Hermann Stilke passed away in Berlin in 1860 at the age of fifty-seven. He left behind a body of work that remains anchored in the academic traditions of the nineteenth century, characterized by his devotion to historical narrative and the permanence of fresco.