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De 2 mest kjente maleriene av Hermann Daur, et gallerivalg
Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 2 verk av Hermann Daur i vår katalog
Kort fortalt
Av alle originalverkene Hermann Daur etterlot seg, er det mest kjente Portrait of Esther Kern (1912), som er en del av samlingen til Augustiner Museum i Freiburg. Vår katalog inneholder 2 verk av Hermann Daur; galleriet har bevart de 2 verkene som verden beundrer mest, hver vist med sin dato, sitt museum og sin historie.
1870 – 1925, Stetten
Flest verk: Augustiner Museum
Hermann Daurs topp 10 malerier: galleriets utvalg
Museene som har Hermann Daurs originalverk
Museet som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Hermann Daur | Malerier fra denne listen |
|---|---|---|---|
 Augustiner Museum |
Freiburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Hermann Daur år for år: originalverkene som definerer hvert år
1912 er året for hvert daterte verk av Hermann Daur i dette utvalget: her er de, rangert etter berømmelse.
Verk per år
Velg et år for å se originalverkene.
Samlere spør om maleriene til Hermann Daur
Hvilket verk er Hermann Daur mest kjent for?Avslør svaret
Portrait of Esther Kern (1912)
Hvor gammel var Hermann Daur da Portrait of Esther Kern ble laget?Avslør svaret
42 år gammel: Portrait of Esther Kern er fra 1912, og Hermann Daur ble født i 1870.
Hvor mange malerier etterlot Hermann Daur?Avslør svaret
Vår katalog inneholder 2 verk av Hermann Daur.
I hvilke museer henger mesterverkene til Hermann Daur?Avslør svaret
Hovedsakelig i Augustiner Museum (Freiburg). Museumslisten ovenfor viser alle.
I hvilke år malte Hermann Daur sine mest kjente verk?Avslør svaret
I 1912: 2 av de 2 verkene på denne siden ble laget da, Portrait of Esther Kern av dem.
Hvilke verk av Hermann Daur stilles ut på Augustiner Museum?Avslør svaret
Portrait of Esther Kern og Portrait of Bianca Kern-Hunziker: Augustiner Museum, Freiburg har 2 av verkene på denne siden.
Hermann Daur: liv og virke
The Quiet Presence of Albert Hermann Daur
The year 1870 marks the beginning of a life that would eventually find its end in Ötlingen in 1925. Born in Stetten, Albert Hermann Daur operated within a specific German tradition, capturing the essence of his subjects and the stillness of the landscape. His brushwork does not shout; it observes. In the quietude of his compositions, one finds a focus on the tangible reality of the era, from the intimate details of a human face to the structural simplicity of a mill nestled in a valley.
His work often centers on the interplay between light and form. In his 1912 oil on canvas, Vorfrühling, Mühle im Kandertal, the scene captures a moment of seasonal transition. The mill sits within the landscape, a fixed point in a changing environment. There is a deliberate weight to his application of oil, a method that prioritizes the physical presence of the subject over mere decoration.
A Study in Form and Subject
Daur’s output reveals a commitment to specific, grounded subjects. He moved between the psychological depth of portraiture and the structural clarity of landscape painting. His technical approach is defined by several key elements:
- The use of oil on canvas to achieve depth in portraiture.
- A focus on the specificities of German topography, such as the Kandertal region.
- A signature style that often included a direct, legible mark on the work itself.
The 1912 Portrait of Bianca Kern-Hunziker serves as a primary example of his ability to hold a gaze. This work, held in the Augustinermuseum in Freiburg, demonstrates his capacity to translate a person into a permanent visual record. He does not rely on artifice, but on the directness of the likeness.
The Final Years and Legacy
By the time of his death in 1925, Daur had established a body of work that remains tied to the specificities of his time and place. His paintings are not abstractions; they are records of a world in transition. The physical remnants of his practice, such as the inscriptions found on the reverse of frames, provide a direct link to his hand. He remains a figure of the German landscape and portrait tradition, a painter who sought to pin down the fleeting light of a spring morning or the steady gaze of a sitter.