Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 3 obras de Hermann Stilke em nosso catálogo
Em resumo
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843) é a pintura de Hermann Stilke que mais atrai olhares; a obra original pertence ao Museu Hermitage, São Petersburgo. Depois disso, o olhar recai sobre Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843) e Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843). Entre as 3 obras de Hermann Stilke em nosso catálogo, estas 3 são as mais famosas, cada uma uma original única apresentada com o seu ano, o seu museu e a razão pela qual perdura.
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.
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
O museu que detém a maioria das pinturas desta página.
| Museus | Cidade | Obras de Hermann Stilke | Pinturas desta lista |
|---|---|---|---|
 Museu Hermitage |
São Petersburgo | 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) |
Todas as obras originais de Hermann Stilke datadas aqui pertencem a um único ano, 1843: elas aparecem em ordem de fama.
Escolha um ano para ver as obras originais.
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.
Mais de 1843
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843), Museu Hermitage, São Petersburgo. Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843) e Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843) vêm a seguir.
40 anos: Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) data de 1843, e Hermann Stilke nasceu em 1803.
Nosso catálogo contém 3 obras de Hermann Stilke.
Principalmente em Museu Hermitage (São Petersburgo). A tabela de museus acima lista todos eles.
Em 1843: 3 das 3 obras nesta página foram feitas então, sendo Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) delas.
Woman (3), Smoke (2) e Sky (2), entre as 3 obras nesta página.
Oil On Canvas, para 3 das 3 obras nesta página.
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) e Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych): o Museu Hermitage, São Petersburgo detém 3 das obras desta página.
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.