Portret Leendert Bolle

Slike avtorja Leendert Bolle: 1 najbolj znanih del skozi oči galerije

Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 1 del v našem katalogu avtorja Leendert Bolle

Kratek opis

Za oči galerije je najbolj znano sliko umetnika Leendert Bolle delo Self-Portrait (1920), katere original visi v muzeju Museum Boijmans Van Beuningen, Rotterdam. Od 1 del avtorja Leendert Bolle v našem katalogu galerija spodaj predstavlja 1 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.

1879 – 1942, Rotterdam Največ del: Museum Boijmans Van Beuningen

Top 10 slik umetnika Leendert Bolle v galeriji

Muzeji, ki hranijo originala umetnika Leendert Bolle

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Muzej Mesto Sloga Leendert Bolle Slike iz tega seznama
Museum Boijmans Van Beuningen, RotterdamMuseum Boijmans Van Beuningen Rotterdam 1 Self-Portrait

Leendert Bolle, značilna dela vsakega leta

Vsako datirano originalno delo umetnika Leendert Bolle na tej strani je bilo izdelovano leta 1920: tukaj so, najprej najbolj znana.

Delo po letih

Izberite leto in oglej originale.

Slike umetnika Leendert Bolle: odgovori galerije

Katero sliko avtorja Leendert Bolle je najbolj znana med vsemi?Razkriti odgovor

Self-Portrait (1920)

Koliko je bil Leendert Bolle let, ko je dokončal Self-Portrait?Razkriti odgovor

41 let: delo Self-Portrait iz leta 1920, Leendert Bolle pa je bil/a rojen/a leta 1879.

Koliko dzieł stworzył Leendert Bolle?Razkriti odgovor

Naš katalog vsebuje 1 del avtorja Leendert Bolle.

Kje so razpostavljena najbolj znana originala umetnika Leendert Bolle?Razkriti odgovor

Večini v Museum Boijmans Van Beuningen (Rotterdam). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.

Leendert Bolle: umetnik

A Life Shaped by Stone and Clay

Leendert Bolle began his life in Rotterdam, Netherlands, born on 11 April 1879. His early years were rooted in the Academy of Fine Arts in Rotterdam, where he first learned to handle form and material. Seeking a broader perspective, he traveled far from his home, spending time as an apprentice in the United States under Lee Lawrie. These travels took him through the streets of Paris and Firenze, where he once attempted to find his voice as a painter. Eventually, the pull of sculpture brought him back to his native Netherlands.

His work was defined by a quiet, focused intensity. He did not merely follow the traditions of his era; instead, he looked for new ways to manipulate the substances around him. While many of his contemporaries preferred pouring concrete into molds, Bolle experimented with compressing the material directly into them. This method gave his pieces a distinct character. He worked with sandstone, plaster, and even metal to create everything from small medals to large-scale architectural elements.

Traces Left in the City

Much of what remains of Bolle's presence can be found integrated into the very fabric of Rotterdam. His hands shaped the public spaces that people pass every day without a second thought. Some of his most recognizable contributions include:

  • The stylized animal sculptures perched on slender columns at the entrance of Diergaarde Blijdorp.
  • The relief and fencing work for the G.J. de Jongh monument located in the garden of Museum Boijmans van Beuningen.
  • Sandstone keystones for the bridge on Statensingel, including a piece featuring Charlie Chaplin and Henry Ford from 1931.
  • Ornaments designed for the SS Nieuw Amsterdam, which was completed in 1937.

These works show a man deeply connected to his surroundings. He saw the city as a place for art to live, not just to be displayed behind glass. Even his smaller works, such as medallions and sketches, reflect this same dedication to detail and form.

A Legacy of Innovation

Bolle's career reached an international stage when he participated in the sculpture event at the 1928 Summer Olympics in Amsterdam. This moment placed his modern approach within a global context. Though his name may have faded from some public memories over the decades, his technical contributions to the medium of sculpture remain significant. He was a man who found beauty in the compression of concrete and the grain of sandstone.

He passed away in Velp, Netherlands, on 13 December 1942. He left behind a body of work that spans many scales, from tiny self-portraits in oil to monumental architectural sketches. His life was spent refining a language of form that continues to be studied by those interested in the interwar period of Dutch sculpture.