განახლდა ნოემბერი 2026 · დალაგებულია ჩვენი პოპულარობის ქულების მიხედვით (ძიება, ნახვა და შეკვეთები თითოეული ნამუშწაროსთვის) · 37 ნამუშევარი ალბერტ ვაისგერბერი ჩვენს კატალოგში
მოკლედ რომ ვთქვათ
David and Goliath (1914) არის ალბერტ ვაისგერბერი-ის ის ნამუშწარო, რომელიც ყველაზე მეტ ყურადღებას იქცევს; ორიგინალი იმყოფება Saarland Museum-ში, Saarbrücken. ამის შემდეგ, მზერა გადადის The Poet Ludwig Scharf (1905)-სა და The Painter Wilhelm Koeppen (1901)-ზე. ჩვენს კატალოგში არსებული ალბერტ ვაისგერბერი-ის 37 ნამუშწაროდან ეს 34 ყველაზე ცნობილია; თითოეული მათგანი წარმოადგენს უნიკალურ ორიგინალს, რომელიც წარმოდგენილია წელით, მუზეუმითა და იმ მიზეზით, რის გამოც ის დღემდე ცოცხლობს.
Albert Weisgerber’s 1914 oil on canvas, David and Goliath, captures the tension of the biblical confrontation between the young shepherd and the Philistine giant. The work measures 104 x 122 cm. It presents the moment of anticipation before the combat, focusing on the disparity between the two combatants.
This portrait, titled The Poet Ludwig Scharf, was painted by the German artist Albert Weisgerber. It offers a quiet, intimate encounter with the subject, captured in a moment of stillness. The work was created about 1905, a period when the artist was deeply immersed in the creative circles of Munich.
Reclining Figure in a Mountain Landscape (Mother Earth)1914 · ბავარიის სახელმწიფო ფერწერის კოლექციები
12
Somali Woman1912 · ბავარიის სახელმწიფო ფერწერის კოლექციები
13
Untitled (AQQW2L)1912
14
Peasant Boy under Birches1901 · ბავარიის სახელმწიფო ფერწერის კოლექციები
15
In the beer garden1905 · პომრელიის სახელმწიფო მუზეუმი გრაიფსვალდში
16
Summer Day1907 · ლენბახაუსი
17
Untitled (AQQW2Y)1910
18
Untitled (AQQW2U)1910 · Saarland Museum
19
Deutsch Selbstbildnis mit nacktem Oberkörper1911
20
In the Munich Hofgarden1911 · ლენბახაუსი
21
Riding in the English Gardens, Munich1910 · Saarland Museum
22
Forest Interior with Figures1912 · ბავარიის სახელმწიფო ფერწერის კოლექციები
23
The Judgment of Paris1912 · ბავარიის სახელმწიფო ფერწერის კოლექციები
24
Bathers, Combing Their Hair1913
25
Battle of the Amazons1912
26
Mountain Landscape1913
27
Reclining Woman in the Sun1913
28
Resting Couple in the Woods1914
29
Lamenting Jeremiah under the Rainbow1912
30
Untitled (AQQW2W)1912
31
Deutsch Selbstbildnis1914
32
Absalom1912 · Saarland Museum
33
Reclining Woman
34
Self portrait Deutsch am Attersee
ამ ორიგინალებში ყველაზე ხშირად განმეორებადი არის 네 თემა, რომელთაგან თითოეულს თავისი საუკეთესო ნიმუში წარმოგვიდგება.
ამ გვერდზე წარმოდგენილი მხატვრობის შედეგების უმეტესობას 5 მუზეუმი ინახავს.
| მუზეუმი | ქალაქი | ალბერტ ვაისგერბერი შემოქმედებაలు | ამ სიიდან მოპოვებული ნახატები |
|---|---|---|---|
 ბავარიის სახელმწიფო ფერწერის კოლექციები |
მუნხენი | 8 | The Poet Ludwig Scharf, The Painter Wilhelm Koeppen, Saint Sebastian |
 Saarland Museum |
Saarbrücken | 4 | David and Goliath, Untitled (AQQW2U), Riding in the English Gardens, Munich |
 ლენბახაუსი |
მუნხენი | 3 | Parisian Restaurant, Summer Day, In the Munich Hofgarden |
 Niedersächsisches Landesmuseum Hannover |
ჰანოვერი | 1 | Self portrait |
 პომრელიის სახელმწიფო მუზეუმი გრაიფსვალდში |
გრაიფსვალი | 1 | In the beer garden |
აქ წარმოდგენილ ალბერტ ვაისგერბერი-ის პირველ და ბოლო დათარიღებულ ორიგინალებს შორის 14 წელი არის, 1901 და 1914: თითოეულ წელს თავისი ადგილი ქვემოთ აქვს.
შეარჩიეთ წელი ორიგინალების სანახავად.
This portrait, titled The Poet Ludwig Scharf, was painted by the German artist Albert Weisgerber. It offers a quiet, intimate encounter with the subject, captured in a moment of stillness. The work was created about 1905, a period when the artist was deeply immersed in the creative circles of Munich.
კიდევ 1905
Albert Weisgerber’s 1914 oil on canvas, David and Goliath, captures the tension of the biblical confrontation between the young shepherd and the Philistine giant. The work measures 104 x 122 cm. It presents the moment of anticipation before the combat, focusing on the disparity between the two combatants.
კიდევ 1914
David and Goliath (1914), Saarland Museum, Saarbrücken. შემდეგ მოდიან The Poet Ludwig Scharf (1905) და The Painter Wilhelm Koeppen (1901).
36 წლის: David and Goliath შექმნილია 1914 წელს, ხოლო ალბერტ ვაისგერბერი დაიბადა 1878 წელს.
David and Goliath, The Poet Ludwig Scharf, The Painter Wilhelm Koeppen, Parisian Restaurant, Saint Sebastian, Forest Path, Porträt des Max Halbe., Untitled (AQQW2G), Untitled (AQQW34) და Self portrait. ზემოთ მოცემული რეიტინგი ასახავს თითოეულის შემოქმედების წელსა და მუზეუმს.
ჩვენს კატალოგში წარმოდგენილია 37 ნამუშწევრი ალბერტ ვაისგერბერი-ისგან, დათარიღებული 1901-დან 1914-მდე.
ძირითადად ბავარიის სახელმწიფო ფერწერის კოლექციები (მუნხენი), Saarland Museum (Saarbrücken) და ლენბახაუსი (მუნხენი)-ში. ზემოთ მოცემულ მუზეუმების ცხრილში ისინი ყველა listed.
1912-ში: ამ გვერდზე წარმოდგენილი 34 ნამუშწარwerksიდან 8 შეიქმნა მაშინ, მათგან Somali Woman.
ამ გვერდზე ყველაზე ადრეული არის The Painter Wilhelm Koeppen (1901), ხოლო ყველაზე გვიანდელი — David and Goliath (1914).
Man (2), Portrait (2) და Contemplation (2), ამ გვერდზე წარმოდგენილ 34 ნამუშწარეს შორის.
Expressionism, ამ გვერდზე წარმოდგენილი ორიგინალების მიხედვით.
The Poet Ludwig Scharf, The Painter Wilhelm Koeppen და Saint Sebastian: ბავარიის სახელმწიფო ფერწერის კოლექციები, მუნხენი-ში წარმოდგენილია ამ გვერდზე მოცემული ნამუშევრების 8 ცალი.
Albert Weisgerber, a name perhaps less familiar than some of his contemporaries within the vibrant artistic circles of early 20th-century Munich, nevertheless stands as a crucial figure in bridging the gap between the established traditions of Impressionism and the nascent movements that would ultimately define Expressionism. Born in Sankt Ingbert in 1878, Weisgerber’s life was tragically cut short at the young age of 37 during World War I, yet his artistic legacy—a collection of evocative portraits, lively café scenes, and a distinctive visual language—continues to resonate with collectors and art historians alike. His story is one interwoven with friendships that shaped the course of modern art, personal tragedy, and a relentless pursuit of capturing the fleeting moments of human experience.
Weisgerber’s early artistic training began in Frankfurt, where he apprenticed as a decorative painter. However, it was his relocation to Munich in 1894 that truly ignited his creative spirit. He enrolled at the Kunstgewerbeschule (School of Arts and Crafts), laying the groundwork for his later explorations of color and form. Crucially, he then entered the studio of Franz von Stuck at the Akademie der Bildenden Künste (Academy of Fine Arts), a setting that exposed him to the influences of Symbolism and the burgeoning currents of modern art. This period proved formative, fostering a deep appreciation for composition, light, and shadow – elements he would later master with remarkable skill.
The late 1890s witnessed the formation of “Sturmfackel,” an artist’s group founded alongside his friend Alfred Kubin. This collective provided a space for experimentation and collaboration, allowing Weisgerber to hone his skills and develop his unique style. It was during this time that he began contributing illustrations to the influential Jugend magazine, a publication known for its progressive aesthetic and engagement with contemporary social issues. These commissions exposed him to a wider audience and further refined his ability to capture the dynamism of urban life – particularly the bustling atmosphere of Munich’s cafes.
A pivotal moment in Weisgerber's artistic development occurred in 1904, when he immersed himself in the vibrant café scene of Munich. This period produced a series of paintings depicting the social interactions and everyday rituals of the city’s bohemian circles – scenes brimming with energy, color, and a subtle sense of melancholy. These works are often characterized by their loose brushwork, bold colors, and a focus on capturing the fleeting expressions of his subjects. Notably, he met Margaret Pohl during this time; her own artistic pursuits and family connections—her father was a successful Jewish banker in Prague—proved to be a significant influence, fostering a shared appreciation for beauty and a willingness to challenge conventional norms.
In 1906, Weisgerber’s talent gained international recognition with the acquisition of several paintings by prominent collectors. This success fueled his ambition and led him to Florence in 1909, where he sought inspiration from the works of Italian primitive artists. He attempted a stylistic shift towards greater simplification and directness, but ultimately returned to Munich, refining his distinctive approach. The years leading up to the outbreak of World War I saw Weisgerber become a founding member and president of the Neue Münchener Secession in 1913 – a group that championed artistic innovation and challenged the established art world. This association brought him into contact with other influential figures, including Alexej von Jawlensky and Paul Klee.
Tragically, Weisgerber’s life was cut short during the Battle of Fromelles in May 1915. Serving as Commanding Officer of the 1st Company of RIR 16 – the List Regiment—he fell victim to a shell explosion. His death, occurring just months before the end of the war, marked a profound loss for the artistic community. Remarkably, his final days were spent in close proximity to Adolf Hitler, who was assigned to regimental headquarters at the time. Despite his untimely demise, Weisgerber’s legacy persists through his captivating paintings—works that offer a poignant glimpse into the spirit of a rapidly changing era and stand as a testament to his unique artistic vision.
Weisgerber's oeuvre is characterized by a remarkable versatility, encompassing portraits, genre scenes, and landscapes. His paintings often feature a distinctive blend of Impressionistic techniques with elements of Expressionism—a tendency towards heightened color, emotional intensity, and distorted forms. His use of light and shadow is particularly noteworthy, creating a sense of atmosphere and depth that draws the viewer into the scene.
His work is often described as a synthesis of influences—drawing upon the Impressionists’ focus on light and color, the Symbolists’ exploration of emotion and symbolism, and the emerging trends of Expressionism. He skillfully blended these elements to create a unique visual language that remains both captivating and deeply evocative.
Albert Weisgerber's artistic career unfolded during a period of profound social and cultural change in Germany. The late 19th and early 20th centuries witnessed the rise of modernism, with artists challenging traditional conventions and exploring new forms of expression. Munich, as a center of art and culture, played a pivotal role in this movement. Weisgerber’s association with groups like “Sturmfackel” and the Neue Münchener Secession placed him at the heart of this artistic ferment.
His work reflects the anxieties and uncertainties of his time—a sense of displacement, alienation, and a yearning for meaning in a rapidly changing world. Despite his relatively short career, Weisgerber left behind a significant body of work that continues to be studied and appreciated by art historians and collectors. His paintings offer a valuable window into the artistic landscape of early 20th-century Germany—a testament to his talent, vision, and enduring legacy.
