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2 najbolj znanih slik umetnika Hermann Daur, galerijska izbira
Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 2 del v našem katalogu avtorja Hermann Daur
Kratek opis
Med vsemi originali, ki jih je pustil Hermann Daur, je najbolj znan Portrait of Esther Kern (1912), ki se nahaja v kolekciji Augustiner Museum, Freiburg. Naš katalog vsebuje 2 del umetnika Hermann Daur; galerija je ohranila 2 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
1870 – 1925, Stetten
Največ del: Augustiner Museum
10 najboljših slik umetnika Hermann Daur: izbira galerije
Muzeji, ki hranijo originala umetnika Hermann Daur
1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Hermann Daur | Slike iz tega seznama |
|---|---|---|---|
 Augustiner Museum |
Freiburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Hermann Daur leta za letom: originali, ki definira vsako obdobje
1912 je leto vsakega datiranega dela umetnika Hermann Daur v tej izbiri: tukaj so, razvrščena po slavi.
Delo po letih
Izberite leto in oglej originale.
Vprašanja zbirateljev o slikah umetnika Hermann Daur
Za katero delo je Hermann Daur najbolj znan/a?Razkriti odgovor
Portrait of Esther Kern (1912)
Koliko je bil Hermann Daur let, ko je nastalo delo Portrait of Esther Kern?Razkriti odgovor
42 let: delo Portrait of Esther Kern iz leta 1912, Hermann Daur pa je bil/a rojen/a leta 1870.
Koliko slik je pustil Hermann Daur?Razkriti odgovor
Naš katalog vsebuje 2 del avtorja Hermann Daur.
V katerih muzejih so razložena remek dela umetnika Hermann Daur?Razkriti odgovor
Večini v Augustiner Museum (Freiburg). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V katerih letih je Hermann Daur naslikal svoja najbolj znana dela?Razkriti odgovor
V obdobju 1912: 2 od 2 del na tej strani je bilo izdelovanih takrat, med njimi pa Portrait of Esther Kern.
Katera dela umetnika Hermann Daur so razstavljena v muzeju Augustiner Museum?Razkriti odgovor
Portrait of Esther Kern in Portrait of Bianca Kern-Hunziker: v muzeju Augustiner Museum, Freiburg se nahaja 2 del z te strani.
Hermann Daur: življenje in delo
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.