Ukratko
Od svih originala koje je Matthias Ranftl ostavio, najpoznatiji je Mother with Children Wading over a Brook (1836). Odmah za njima slede Russian Peasant Couple (1832) i Hunter and Girl (1847). Naš katalog sadrži 11 dela umetnika Matthias Ranftl; galerija je čuvala 11 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
Top 10 slika umetnika Matthias Ranftl: izbor galerije
Izbor umetnika Matthias Ranftl se nastavlja, od 11 do 11
Matthias Ranftl deceniju po deceniju: original koji definiše svaku od njih
Radovi po decenijama
Izaberite deceniju da biste videli original koji je definiše.
Pitanja kolekcionara o slikama umetnika Matthias Ranftl
Po kojem delu je Matthias Ranftl najpoznatiji/a?Otkrij odgovor
Mother with Children Wading over a Brook (1836). Slede Russian Peasant Couple (1832) i Hunter and Girl (1847).
Koliko je godina imao/la Matthias Ranftl kada je nastalo delo Mother with Children Wading over a Brook?Otkrij odgovor
32 godina: Mother with Children Wading over a Brook datira iz 1836, a Matthias Ranftl je rođen/a 1804.
Koja su deset najpoznatijih slika umetnika Matthias Ranftl?Otkrij odgovor
Mother with Children Wading over a Brook, Russian Peasant Couple, Hunter and Girl, The Hunting Trophy, Hunter with Black Grouse above Berchtesgaden, Watzmann in the Background, The pilgrims' rest, rest after the hunt, Begging children at the Glacis in Vienna, Man and woman wandering in snow - storm i Dead Snow Grouse. Gornji rang pokazuje godinu i muzej za svako od njih.
Koliko je slika ostavio Matthias Ranftl?Otkrij odgovor
Naš katalog sadrži 11 dela umetnika Matthias Ranftl, datiranih od 1832 do 1852.
U kojim godinama je Matthias Ranftl naslikao svoja najpoznatija dela?Otkrij odgovor
U 1850s: 5 od 11 dela na ovoj stranici nastalo je tada, od čega je The Hunting Trophy.
Koja su prva i poslednja čuvena originalna dela umetnika Matthias Ranftl?Otkrij odgovor
Na ovoj stranici, najstarije delo je iz Russian Peasant Couple (1832), a najnovije iz The pilgrims' rest (1852).
Matthias Ranftl: život i delo
The Academy and the Russian Court
Vienna, 1804. A child is born into a family where art lingers in the periphery; his grandfather had once traveled from Regensburg to settle in this city. His mother, an enthusiast of the arts, recognizes a spark in him early on. By 1817, the boy enters the Academy of Fine Arts Vienna. He sits at the feet of Johann Baptist Lampi and Anton Petter, absorbing the rigors of drawing and history painting. The air in the studio is thick with the discipline of the old masters.
A shift occurs in 1819. A study trip through Switzerland and Germany pulls his gaze away from the structured halls of the Academy toward the sprawling landscapes of the natural world. He returns to Vienna changed, his focus narrowing onto the earth and sky. By 1826, he is no longer just a student but an exhibitor, presenting portraits and historical works that command attention at the Academy. That same year, the horizon expands further. He travels to Russia, finding himself in the imperial centers of Moscow and St. Petersburg. In these aristocratic circles, he secures commissions for portraits and finds work illustrating Pushkin’s Eugene Onegin.
The Shift to Genre and the Canine Subject
The return to Vienna marks a departure from the grandiosity of history painting. The artist moves toward the intimate, the rural, and the urban. He begins to capture the quiet rhythms of Biedermeier life. In 1836, a trip to London alongside Prince Paul Esterházy introduces him to the work of Edwin Landseer. This encounter acts as a hinge. The fascination with animals, specifically dogs, becomes a central pillar of his output. His ability to render the texture of fur and the character in an animal's eyes earns him the moniker “the Raphael of Dogs.”
His brush captures more than just anatomy; it captures a specific social atmosphere. He populates his scenes with:
- Detailed portraits of dogs that serve as protagonists in genre scenes.
- Sensitive depictions of rural and urban life.
- Illustrations for satirical works like the Republic of Animals.
Final Years in Vienna
By 1849, his status is solidified through his election as a full member of the Vienna Academy. He has moved from a student of history to a specialist of the particular. His later years involve experimentation with printmaking and the development of a unique galvanographic printing technique. The life he leads is that of a true romantic artist, deeply embedded in the Viennese cultural fabric. In 1854, the disease known as the Ruhr claims him in the suburb of Wieden. He is laid to rest in the Vienna Central Cemetery, leaving behind a body of work defined by its startling realism and an enduring affection for the creatures he painted.








