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2 najpoznatijih slika umetnika Hermann Daur, izbor iz galerije
Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 2 dela Hermann Daur u našem katalogu
Ukratko
Od svih originala koje je Hermann Daur ostavio, najpoznatiji je Portrait of Esther Kern (1912), koji se nalazi u kolekciji Augustiner Museum, Frajburg. Naš katalog sadrži 2 dela umetnika Hermann Daur; galerija je čuvala 2 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
1870 – 1925, Stetten
Najviše dela: Augustiner Museum
Top 10 slika umetnika Hermann Daur: izbor galerije
Muzeji u kojima se čuvaju originalna dela umetnika Hermann Daur
1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Hermann Daur | Slike iz ovog spiska |
|---|---|---|---|
 Augustiner Museum |
Frajburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Hermann Daur iz godine u godinu: originalna dela koja definišu svaku od njih
1912 je godina svakog datiranog dela umetnika Hermann Daur u ovom odabiru: evo ih, rangiranih prema popularnosti.
Radovi po godinama
Izaberite godinu da biste videli originalna dela.
Pitanja kolekcionara o slikama umetnika Hermann Daur
Po kojem delu je Hermann Daur najpoznatiji/a?Otkrij odgovor
Portrait of Esther Kern (1912)
Koliko je godina imao/la Hermann Daur kada je nastalo delo Portrait of Esther Kern?Otkrij odgovor
42 godina: Portrait of Esther Kern datira iz 1912, a Hermann Daur je rođen/a 1870.
Koliko je slika ostavio Hermann Daur?Otkrij odgovor
Naš katalog sadrži 2 dela umetnika Hermann Daur.
U kojim muzejima se nalaze remek-dela umetnika Hermann Daur?Otkrij odgovor
Većinom u Augustiner Museum (Frajburg). Tabela muzeja iznad sadrži njih sve.
U kojim godinama je Hermann Daur naslikao svoja najpoznatija dela?Otkrij odgovor
U 1912: 2 od 2 dela na ovoj stranici nastalo je tada, od čega je Portrait of Esther Kern.
Čija se dela umetnika Hermann Daur nalaze u Augustiner Museum?Otkrij odgovor
Portrait of Esther Kern i Portrait of Bianca Kern-Hunziker: Augustiner Museum, Frajburg čuva 2 dela sa ove stranice.
Hermann Daur: život i 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.