11월 2026 업데이트 · 인기 점수 기준 순위 (각 작품의 검색, 방문 및 주문 수) · 3점의 Hermann Stilke 작품 (당사 카탈로그 기준)
요약하자면
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)은(는) Hermann Stilke의 작품 중 가장 많은 시선을 사로잡는 회화이며, 원작은 상트페테르부르크에 위치한 에르미타주 박물관에 소장되어 있습니다. 그다음 시선은 Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843)와 Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)로 향합니다. 우리 카탈로그에 수록된 Hermann Stilke의 작품 3점 중, 가장 유명한 3점을 소개합니다. 각 작품은 제작 연도, 소장 박물관, 그리고 시대를 초월해 사랑받는 이유와 함께 독창적인 원작으로 제시됩니다.
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.
이 오리지널 작품들에서 가장 자주 등장하는 네 가지 주제와 그 정수를 보여주는 대표작들.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 1개의 미술관
| 소장 미술관 | 도시 | Hermann Stilke의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 에르미타주 박물관 |
상트페테르부르크 | 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) |
여기에 표시된 모든 Hermann Stilke의 원작은 1843년도 작품으로, 유명도 순으로 나열되어 있습니다.
연도를 선택하여 원작을 확인해 보세요.
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.
1843의 더 많은 작품
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843), 에르미타주 박물관, 상트페테르부르크. 다음은 Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843)와 Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)입니다.
40세: Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych)은(는) 1843년 작품이며, Hermann Stilke은(는) 1803년에 태어났습니다.
저희 카탈로그에는 Hermann Stilke의 작품 3점이 있습니다.
대부분 에르미타주 박물관 (상트페테르부르크)에 소장되어 있습니다. 위의 박물관 목록에서 전체 목록을 확인하실 수 있습니다.
1843 동안: 이 페이지의 총 3점의 작품 중 3점이 해당 시기에 제작되었으며, 그중 Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych)점입니다.
이 페이지의 3점의 작품에 걸쳐 있는 Woman (3), Smoke (2) 및 Sky (2)
이 페이지의 총 3점의 작품 중 3점의 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) 및 Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych): 에르미타주 박물관, 상트페테르부르크은(는) 이 페이지에 있는 작품 중 3점을 소장하고 있습니다.
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.