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As 2 Pinturas Mais Famosas de Hermann Daur, uma Seleção da Galeria
Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 2 obras de Hermann Daur em nosso catálogo
Em resumo
De todas as obras originais deixadas por Hermann Daur, a mais famosa é Portrait of Esther Kern (1912), da coleção do Augustiner Museum, em Freiburg. Nosso catálogo contém 2 obras de Hermann Daur; a galeria preservou as 2 que o mundo mais admira, cada uma exibida com sua data, seu museu e sua história.
1870 – 1925, Stetten
Mais obras: Augustiner Museum
As 10 principais pinturas de Hermann Daur: a escolha da galeria
Os museus que guardam os originais de Hermann Daur
O museu que detém a maioria das pinturas desta página.
| Museus | Cidade | Obras de Hermann Daur | Pinturas desta lista |
|---|---|---|---|
 Augustiner Museum |
Freiburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Hermann Daur ano a ano: as obras originais que definem cada um
1912 é o ano de cada obra datada de Hermann Daur nesta seleção: aqui estão elas, classificadas por fama.
Obras por ano
Escolha um ano para ver as obras originais.
Perguntas de colecionadores sobre as pinturas de Hermann Daur
Por qual obra Hermann Daur é mais conhecido(a)?Revelar a resposta
Portrait of Esther Kern (1912)
Qual era a idade de Hermann Daur quando Portrait of Esther Kern foi feita?Revelar a resposta
42 anos: Portrait of Esther Kern data de 1912, e Hermann Daur nasceu em 1870.
Quantas pinturas Hermann Daur deixou?Revelar a resposta
Nosso catálogo contém 2 obras de Hermann Daur.
Em quais museus estão expostas as obras-primas de Hermann Daur?Revelar a resposta
Principalmente em Augustiner Museum (Freiburg). A tabela de museus acima lista todos eles.
Em que anos Hermann Daur pintou as suas obras mais famosas?Revelar a resposta
Em 1912: 2 das 2 obras nesta página foram feitas então, sendo Portrait of Esther Kern delas.
Quais obras de Hermann Daur estão expostas no Augustiner Museum?Revelar a resposta
Portrait of Esther Kern e Portrait of Bianca Kern-Hunziker: o Augustiner Museum, Freiburg detém 2 das obras desta página.
Hermann Daur: vida e obra
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.