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Portrait of a Hunter (1860) is het schilderij van Ferdinand Keller dat de meeste aandacht trekt; het origineel bevindt zich in het Augustiner Museum, Freiburg. Daarna gaat de blik naar Portrait of Nanna Risi (1869) en Portrait of Anna Risi (1869). Van de 27 werken van Ferdinand Keller in onze catalogus zijn dit de 27 bekendste, elk een uniek origineel gepresenteerd met het jaar, het museum en de reden waarom het blijft voortbestaan.
Portrait of a Hunter by Ferdinand Keller. This bust-length portrait, executed about 1860, presents an elderly man whose weathered features and direct gaze suggest a life of outdoor experience. The subject is likely a hunter, a role suggested by his rugged appearance and the presence of a green sprig tucked into his hat.
The oil on canvas titled Portrait of Nanna Risi captures a single, quiet moment of presence. Created by the artist Ferdinand Keller, the work centers on the figure of Nanna Risi. It emerged from the studio about 1869, a period when the subject's likeness was being etched into the memory of the era. The portrait presents a study of a woman positioned against the weight of a classical urn.
The light enters from the upper left, brushing against the curve of a forehead and the bridge of a nose in a soft, directional glow. Anna Risi sits in profile, her gaze fixed on something unseen beyond the frame. There is a stillness here, a moment caught in the amber of 1869. Her dark hair is woven into intricate braids, each strand catching the light, while the heavy fabric of…
The Painting is a work by Ferdinand Keller, a German genre and history painter. He was born in Karlsruhe, Germany. This specific piece emerged around 1877, a period when the artist was refining his command over the human form and the weight of history. The canvas captures a quiet, singular moment through the lens of his academic training.
A reclining nude woman occupies the central space of this oil on canvas, positioned in a diagonal arrangement that moves from the lower left toward the upper right. The figure rests amidst a dense collection of objects, including a large peacock, a mirror, various flowers, and shells. The lighting is directed from a single source, creating a chiaroscuro effect that defines the contours of the skin against a dark, shadowy…
The portrait depicts Wilhelmine Keller in a full-length pose, positioned slightly off-center within a vertically oriented frame. She is dressed in a Victorian-era gown characterized by a structured silhouette and a bodice featuring vertical stripes. The garment is constructed from heavy fabrics, including what appears to be silk or velvet, and is accented with delicate lace at the collar and cuffs. A chair is placed to her side, upholstered in…
In the Portrait of Anselm Feuerbach, Ferdinand Keller captures a quiet, heavy moment of contemplation. This bust-length portrait focuses on the man from the chest up, positioning him slightly off-center to the right. The viewer meets his gaze through a close-up, eye-level perspective that feels intimate and immediate. He carries a thoughtful, perhaps even melancholic expression, as if lost in a private memory. The subject remains still against a dark,…
This oil self-portrait, executed in 1875, presents a close-up view of a man's head and shoulders. The subject is positioned slightly off-center, looking downward with a gaze that avoids direct contact with the viewer. He wears a thick fur cap that adds significant volume to the upper portion of the composition. A voluminous beard covers the lower half of his face, rendered with heavy, textured brushstrokes. The lighting originates from…
The sea is a heavy, churning mass of charcoal and salt. In this 1875 oil painting, the water does not merely flow; it strikes. Leander’s body is caught in the violent grip of the waves, his muscular form rendered with a stark, anatomical precision that catches the light amidst the gloom. Above him, the cliff rises like a jagged tooth against a sky of bruised clouds. Hero clings to the…
In this 1874 draft for the curtain of the second court theater, we find a composition designed for the monumental scale of a stage setting. The work is structured around a large central rectangular panel, framed by elaborate decorative borders that suggest a sense of formal ceremony. Within this central space, a group of mythological figures emerges from a swirling landscape of clouds and drapery. A central female figure, draped…
Putti as Allegory of the Art of Acting1883
12
Self-Portrait1879 · Staatliche Kunsthalle Karlsruhe
13
putti performing an opera1882
14
Emperor Wilhelm I. on Horseback1890
15
Selene1886
16
Kaiser Wilhelm the Victorious1888 · Alte Nationalgalerie
17
2 allegone female figures with sword,book and mirror ( Justica and wisdom ? )1888
18
Coastal Landscape close to Rio de Janeiro1864 · Staatliche Kunsthalle Karlsruhe
19
Hero finding leander
20
Türkenlouis (1879 · Staatliche Kunsthalle Karlsruhe
21
Hunting Still Life1866 · Staatliche Kunsthalle Karlsruhe
22
The Great Elector Before the Battle of Fehrbellin1884 · Staatliche Kunsthalle Karlsruhe
23
Oil Sketch for Türkenlouis*Staatliche Kunsthalle Karlsruhe
24
Flora
25
Give me your paw
26
A classical landscape
27
A nymph drinking at a spring
De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.
De 5 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Ferdinand Keller | Schilderijen uit deze lijst |
|---|---|---|---|
 Staatliche Kunsthalle Karlsruhe |
Karlsruhe | 11 | Portrait of Anna Risi, Portrait of Wilhelmine Keller, Portrait of Anselm Feuerbach |
 Augustiner Museum |
Freiburg | 2 | Portrait of a Hunter, Portrait of Nanna Risi |
 Bayerische Staatsgemäldesammlungen |
München | 1 | The Painting |
 Staatliche Kunstsammlungen Dresden |
Dresden | 1 | Draft for the curtain of the second court theater |
 Alte Nationalgalerie |
Berlijn | 1 | Kaiser Wilhelm the Victorious |
Kies een decennium om het origineel te zien dat dit tijdperk definieert.
Portrait of a Hunter by Ferdinand Keller. This bust-length portrait, executed about 1860, presents an elderly man whose weathered features and direct gaze suggest a life of outdoor experience. The subject is likely a hunter, a role suggested by his rugged appearance and the presence of a green sprig tucked into his hat.
The Painting is a work by Ferdinand Keller, a German genre and history painter. He was born in Karlsruhe, Germany. This specific piece emerged around 1877, a period when the artist was refining his command over the human form and the weight of history. The canvas captures a quiet, singular moment through the lens of his academic training.
The stage is set in a world of silver and shadow. In this 1883 composition, a group of cherubic putti inhabits a space that feels less like a physical room and more like a dream of the theater. The scene unfolds with a dramatic, stage-like quality, pulling the eye into a crowded, dynamic arrangement of figures. At the center, a standing putto gazes toward the viewer, his presence anchoring the…
In "Emperor Wilhelm I. on Horseback" by Ferdinand Keller, the composition centers on a man in military uniform mounted upon a dark horse. Positioned in the middle ground, the rider is viewed from a slightly low angle, a perspective that grants the figure a sense of stature and command. The scene is rendered in a monochromatic palette, utilizing various shades of gray, white, and black to define the form. This…
Portrait of a Hunter (1860), Augustiner Museum, Freiburg. Portrait of Nanna Risi (1869) en Portrait of Anna Risi (1869) volgen.
18 jaar oud: Portrait of a Hunter dateert uit 1860, en Ferdinand Keller werd geboren in 1842.
Portrait of a Hunter, Portrait of Nanna Risi, Portrait of Anna Risi, The Painting, Female Nude with Peacock and Mirror, Portrait of Wilhelmine Keller, Portrait of Anselm Feuerbach, Self-Portrait with Fur Cap, Hero and Leander en Draft for the curtain of the second court theater. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 27 werken van Ferdinand Keller, daterend van 1860 tot 1890.
Voornamelijk in Staatliche Kunsthalle Karlsruhe (Karlsruhe), Augustiner Museum (Freiburg) en Bayerische Staatsgemäldesammlungen (München). De bovenstaande museumtabel bevat een volledig overzicht.
In 1870s: 9 van de 27 werken op deze pagina werden toen gemaakt, waaronder The Painting.
Op deze pagina is het vroegste Portrait of a Hunter (1860) en het laatste Emperor Wilhelm I. on Horseback (1890).
Woman (9), Drapery (7) en Man (6), verspreid over de 27 werken op deze pagina.
Oil On Canvas, voor 13 van de 27 werken op deze pagina.
Portrait of Anna Risi, Portrait of Wilhelmine Keller en Portrait of Anselm Feuerbach: het Staatliche Kunsthalle Karlsruhe, Karlsruhe herbergt 11 van de werken op deze pagina.
Ferdinand Keller, often referred to by his noble title von Keller, remains one of the most captivating figures of the German Romantic movement. Born on August 5, 1842, in Karlsruhe, his early life was marked by a profound sense of adventure and global perspective that would later infuse his canvases with an exotic, far-reaching spirit. As the son of a civil engineer, Keller’s childhood was shaped by the vast landscapes of Brazil, where he accompanied his father on ambitious infrastructural projects. It was amidst the lush, tropical greenery of South America that the young artist first taught himself to draw, sketching the vibrant flora and sun-drenched vistas that would forever haunt his artistic imagination. This early exposure to a world far beyond the borders of Europe provided him with a unique visual vocabulary, blending classical European training with a deep-seated fascination for the exotic and the untamed.
Upon returning to Germany, Keller sought formal refinement at the prestigious Academy of Fine Arts in Karlsruhe. Under the mentorship of Johann Wilhelm Schirmer, he mastered the rigorous techniques of landscape painting and learned to imblaming nature with psychological depth. However, Keller was never one to be confined by the rigid boundaries of academic conservatism. Seeking a more expressive realism, he pursued private instruction in the studio of the sculptor Hans Canon and embarked on transformative journeys through Switzerland and France. These travels were not merely sightseeing expeditions but essential periods of artistic maturation, where he absorbed the burgeoning currents of Symbolism and learned to use light and shadow to evoke the unseen tensions of the human soul.
Keller’s oeuvre is a breathtaking tapestry of genre and history painting, characterized by an unparalleled ability to capture dramatic tension and emotional complexity. He achieved international acclaim early in his career, most notably at the 1867 International Exposition of Paris, where his work “The Death of Philip II” stunned audiences with its narrative power and psychological intensity. This talent for storytelling found its most visceral expression in his celebrated depictions of bullfighting. In these works, Keller did not merely document a spectacle; he transformed the arena into a stage for primal struggles between life and death, man and beast, utilizing bold brushwork and a dramatic palette to immerse the viewer in the heat and dust of the ring.
Beyond the arena, his artistry extended into the realms of royal commissions and grand historical narratives. His technical prowess earned him the respect of European nobility, leading to significant decorations for prestigious venues such as the Karlsruhe Court Theater and the Dresden Semperoper. One of his most enduring legacies is the "History of Baden," a monumental series commissioned by Frederick I, Grand Duke of Baden. Through these paintings, Keller acted as both a chronicler and an artist, weaving the political and cultural identity of his homeland into a grand, symbolic epic that remains a cornerstone of German historical art.
As his career progressed, Keller’s role transitioned from a rising star to a pillar of the artistic community. Serving as the director of the Karlsruhe Academy from 1880 to 1913, he influenced generations of subsequent painters, instilling in them the same dedication to technical excellence and emotional truth that had defined his own journey. His ability to bridge the gap between the meticulous detail of classical realism and the evocative mystery of Symbolism allowed him to remain relevant even as artistic movements shifted toward modernity.
Ferdinand Keller passed away in 1922 in Baden-Baden, leaving behind a legacy that transcends simple categorization. His work continues to resonate because it speaks to the universal human experience—the thrill of the hunt, the solemnity of history, and the quiet majesty of the natural world. To look upon a Keller painting is to enter a realm where every shadow holds a secret and every landscape tells a story, ensuring his place as a true pioneer of the Romantic spirit.
