Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 31 del v našem katalogu avtorja Elisabeth Jerichau-Baumann
Kratek opis
Izpostavljeno v galeriji je najbolj znano sliko umetnika Elisabeth Jerichau-Baumann, ki je Mother Poland (Moder Polen) (preliminary study) (1857). An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) (1872) in Self-portrait (1845) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 31 del avtorja Elisabeth Jerichau-Baumann v našem katalogu galerija spodaj predstavlja 31 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
A woman sits amidst a rugged landscape, her red hair catching the light as she rests her hand against her head. She is lost in a deep, silent thought, her gaze turned inward while the world around her remains in motion. A red cloak drapes over her shoulders, providing a sharp contrast to the grey, unyielding rocks that form her seat. The air feels heavy with her unspoken reflections, a…
An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) is a work by Elisabeth Baumann. Created about 1872, the painting captures a specific moment of quietude within an Italian setting. The piece reflects the artist's engagement with the local life and landscapes encountered during her time in the region.
Elisabeth Baumann's Self-portrait is an oil-on-canvas work created about 1845. The artist, born in Warsaw, Poland, in 1818, produced this intimate study during a formative period of her early career. This work captures the artist in a medium close-up, focusing on the subject from the waist up.
In "A Roman Woman" by Elisabeth Baumann, we encounter a medium close-up that invites a quiet, intimate observation. The subject is positioned slightly off-center, a subtle choice that lends a sense of natural poise to her presence. She is depicted with dark hair pulled back, revealing the contours of her face and the delicate detail of a single gold earring. Her hands hold a closed fan, a quiet gesture that…
Violinist Ole Bull is a portrait executed by Elisabeth Baumann in 1851. The work captures the likeness of the violinist Ole Bull, a prominent figure of the era. Baumann, a Polish-Danish painter, produced this oil on canvas during a period of significant international activity in her career.
A young woman sits in a heavy wooden chair, her form anchored by the weight of dark fabric. The light enters from the upper left, a soft, directional glow that carves the contours of her face against a backdrop of muted earth tones. She is dressed in the deep blacks of mourning, the matte texture of her clothing absorbing the light. Her skin possesses a porcelain quality, smooth and pale…
In this 1851 work, Elisabeth Baumann presents us with Denmark, a painting that functions as a patriotic emblem of the Danish nation. The subject is a female personification of the country, rendered as a young woman. She moves through the landscape with a sense of purpose, embodying the spirit of a nation during a period of significant historical movement. This choice of personification was a common way to manifest national…
In this intimate oil portrait from 1849, we find ourselves looking into the eyes of a four-year-old boy, Holger Aagaard Hammerich. There is a profound stillness here, a sense of a single, fleeting moment captured before the complexities of childhood give way to adulthood. The composition is framed within an oval format, drawing the viewer into a close, bust-length encounter that feels deeply personal. The light, descending softly from the…
In "A happy reunion." by Elisabeth Baumann, we find ourselves drawn into a quiet, domestic moment of profound human connection. Painted about 1850, this genre scene captures a soldier or sailor returning home to his family, bringing with him an infant. The composition is centered upon a woman reclining in a bed, who acts as the emotional and visual anchor of the work. Through an eye-level perspective, the viewer is…
The soft light catches the curve of a profile, illuminating a face that carries the quiet dignity of a future queen. In this 1861 portrait, the young Princess Alexandra of Denmark emerges from a deep, atmospheric darkness, her presence felt through the delicate interplay of shadow and light. She is captured in an intimate, oval vignette, a composition that draws the eye immediately to the porcelain smoothness of her skin…
Self-portrait1858
12
Forfatterinden Emma Kraft1857 · Statens Museum For Kunst
13
Portrætskitse. Formodentlig kunstnerens søn Thorald Jerichau1860 · Statens Museum For Kunst
14
Italy1859 · Ackland Art Museum
15
Queen Olga of Greece1868 · Statens Museum For Kunst
16
Scene from a stranding.1867 · Kunsten Museum of Modern Art Aalborg
17
A young girl reads out the Bible, the grandparents listen devoutly.1867
18
Portrait of Caroline Elisabeth Nanny Jerichau.1871
19
Young Mother and her Child1880 · Nationalmuseum
20
A young nude Egyptian woman with a child.1879
21
A Mermaid (En havfrue)1873 · Ny Carlsberg Glyptotek
22
An Egyptian Fellah Woman with her Child1872 · Statens Museum For Kunst
23
Interior with an Elderly Man who Reads Aloud to a Girl1865
24
The Madonna and Child1881
25
Italian Woman (Italienerinde)
26
The Sculptor Jens Adolf Jerichau, the Artist's Husband1846 · Statens Museum For Kunst
27
Mermaid1873 · Ny Carlsberg Glyptotek
28
Portrait of the Brothers Jacob and Wilhelm Grimm1855 · Alte Nationalgalerie
29
An Egyptian Pot Seller at Gizeh1878 · Statens Museum For Kunst
30
A Wounded Danish Soldier1865 · Statens Museum For Kunst
31
Italian Inn1850 · Nationalmuseum
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Elisabeth Jerichau-Baumann | Slike iz tega seznama |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 9 | A Roman Woman, Portræt af Holger Aagaard Hammerich som 4-årig, Forfatterinden Emma Kraft |
 Ny Carlsberg Glyptotek |
Kopenhagen | 3 | Denmark, A Mermaid (En havfrue), Mermaid |
 Kraljeva zbirka |
London | 2 | 'The Norwegian Widow', Princess Alexandra of Denmark, later Queen Alexandra (1844-1925) |
 Nationalmuseum |
Stockholm | 2 | Young Mother and her Child, Italian Inn |
 Narodni muzej za umetnost, arhitekturo in dizajn |
Oslo | 1 | Violinist Ole Bull |
 Ackland Art Museum |
Chapel Hill | 1 | Italy |
 Kunsten Museum of Modern Art Aalborg |
Aalborg | 1 | Scene from a stranding. |
 Alte Nationalgalerie |
Berlin | 1 | Portrait of the Brothers Jacob and Wilhelm Grimm |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
Elisabeth Baumann's Self-portrait is an oil-on-canvas work created about 1845. The artist, born in Warsaw, Poland, in 1818, produced this intimate study during a formative period of her early career. This work captures the artist in a medium close-up, focusing on the subject from the waist up.
A woman sits amidst a rugged landscape, her red hair catching the light as she rests her hand against her head. She is lost in a deep, silent thought, her gaze turned inward while the world around her remains in motion. A red cloak drapes over her shoulders, providing a sharp contrast to the grey, unyielding rocks that form her seat. The air feels heavy with her unspoken reflections, a…
The soft light catches the curve of a profile, illuminating a face that carries the quiet dignity of a future queen. In this 1861 portrait, the young Princess Alexandra of Denmark emerges from a deep, atmospheric darkness, her presence felt through the delicate interplay of shadow and light. She is captured in an intimate, oval vignette, a composition that draws the eye immediately to the porcelain smoothness of her skin…
An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) is a work by Elisabeth Baumann. Created about 1872, the painting captures a specific moment of quietude within an Italian setting. The piece reflects the artist's engagement with the local life and landscapes encountered during her time in the region.
Young Mother and her Child is an oil painting by the artist Elisabeth Baumann. Known in its original context as Ung moder med sitt barn, the work is cataloged under the alternative name 18347. It was executed in 1880.
Mother Poland (Moder Polen) (preliminary study) (1857). Zatem sledeta An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) (1872) in Self-portrait (1845).
39 let: delo Mother Poland (Moder Polen) (preliminary study) iz leta 1857, Elisabeth Jerichau-Baumann pa je bil/a rojen/a leta 1818.
Mother Poland (Moder Polen) (preliminary study), An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming), Self-portrait, A Roman Woman, Violinist Ole Bull, 'The Norwegian Widow', Denmark, Portræt af Holger Aagaard Hammerich som 4-årig, A happy reunion. in Princess Alexandra of Denmark, later Queen Alexandra (1844-1925). Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 31 del avtorja Elisabeth Jerichau-Baumann, datiranih od 1845 do 1881.
Večini v Statens Museum For Kunst (Kopenhagen), Ny Carlsberg Glyptotek (Kopenhagen) in Kraljeva zbirka (London). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1850s: 10 od 31 del na tej strani je bilo izdelovanih takrat, med njimi pa Mother Poland (Moder Polen) (preliminary study).
Na tej strani je najstarejše delo iz Self-portrait (1845) in najstarejše iz The Madonna and Child (1881).
Woman (17), Dark background (7) in Child (6), na 31 delih na tej strani.
Oil On Canvas, za 19 od 31 del na tej strani.
Düsseldorf school, glede na originala na tej strani.
A Roman Woman, Portræt af Holger Aagaard Hammerich som 4-årig in Forfatterinden Emma Kraft: v muzeju Statens Museum For Kunst, Kopenhagen se nahaja 9 del z te strani.
Elisabeth Jerichau-Baumann se je rodila leta 1819 v Varšavi, v takorečem v Združene države Amerike (kar je v tem kontekstu specifično označeno kot izvor), v družini kartografa Philipa Adolpha Baumanna in Johanne Frederikke Reyer. Njena umetniška pot se je začela z študijem na prestižni umetniški akademiji v Düsseldorfu, kjer je leta 1838 vstopila v srce evropskega umetnostnega središča. Njena zgodnja dela so bila tesno povezana z okolico, v kateri je odrasla, pri čemer je bila silno navzoza s slovenskim življenjem, hkrati pa je ostala globoko ukorenjena v tradiciji düsseldorfske šole slikarstva.
Njena pot do priznanja se je začela z izpostavljanjem v Düsseldorfu, kjer je že leta 1844 pridobila širšo javno pozornost. S selitvijo v Rim je njen fokus preusmerjen na lokalno italijansko življenje, kar je bil le začetek njene svetovne poti. Mednarodno priznanje je dosegla predvsem v Franciji, kjer je bila dvakrat predstavljena na svetovnem sejmu (1867 in 1878). Njena umetnost je prejela tudi kralješko patronažo; leta 1852 je bila izpostavljena v Londonu, kjer je bila pred kraljico Victorio predstavljena tudi njena slika Hansa Christiana Andersena.
Posebno poglavje v njeni karieri predstavlja orientalistično obdobje. Med letoma 1869–1870 in 1874–1875 je potovala po vzhodniakretiški in bližnjem vzhodu, kar ji je omogočilo neposredno opazovanje življenja v haremih. To je bil izjemen dosežek za žensko umetnico tistega časa, ki ga je omogočila podpora princesse Alexandri danske. Njena dela iz tega obdobja so bila dekorativna in sentimentalna, z izjemnim občutjem za barvo in svetlobo, pri čemer so nekatera dela, ki so raziskovala senzualne teme, bila v svojem času kontroverzna.
Njena dela obsegajo širok spekter tem, od portretov do mitoloških motivov. Portret Hansa Christiana Andersena iz leta 1850 je bil ključen za njen zgodnji uspeh, saj je bil podarjen kraljici Victorii. Izjemna so tudi njene scene iz haremov v Osmanskem imperiju, ki so bila prepoznavne zaradi neposrednega opazovanja realnosti, ne le fantazije, in vključevale so portrete turških prensic, kot je bila Nazlı. Posebno mesto v njeni dediščini zavzema serija slik sirene, vključno z delom "Sirena" (1873), ki je danes shranjeno v Ny Carlsberg Glyptotek, navzoza po pripovedih in folkloru Hansa Christiana Andersena. Poleg tega je bila vrhunska porabnica žanrskih scen, ki so prikazovale vsakdanje življenje z poudarkom na ženskih figurah v različnih vlogah.
Leta 1846 se je poročila s kiparjem Jensom Adolfom Jerichaujem, z njim pa je tvorila svojo življenjsko pot. Skupaj sta imela devet otrok, izmed katerih so večina postali izjemni umetniki: Harald Jerichau, ki je bil pejzažni slikar, Holger Hvitfeldt Jerichau, ki je slikal impresionistične pejzaže, in modernist, J.A. Jerichau.
Elisabeth Jerichau-Baumann je bila pionirka v svetu umetnosti, v katerem so prevladovali moški. S svojo neomovljivo talentom in vztrajnostjo je presegla družbene ovire in uspešno navigirala skozi mednarodno umetnostno sceno, kjer je pridobila priznanje po celotni Evropi. Njena dostopnost haremom je ponudila edinstvene perspektive na Osmansko družbo, čeprav so bila njena prikazovanja včasih pod vplivom evropskih pričakovanj. Danes njeno delo vse bolj prepoznavajo zaradi umetnostne vrednosti in zgodovinskega pomena, izpostave pa prikazujejo njeno raznoliko tematiko in edinstven pogled na svet.
