Оновлено Жовтень 2026 · за рейтингом нашої популярності (кількість пошукових запитів, переглядів та замовлень для кожної роботи) · 6 робіт Robert Schwede у нашому каталозі
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З усіх оригінальних робіт, які залишив Robert Schwede, найвідомішою є Portrait of Nikolai Monsey (1848) із колекції Державний музей-заповідник «Ермітаж», Санкт-Петербург. Слідом за ними йдуть Portrait of Konstantin Monsey (1848) та Portrait of Admiral Mikhail Lazarev (1845). Наш каталог містить 6 робіт Robert Schwede; галерея зберегла 6 найвідоміших у світі творів, кожен із яких представлений із датою створення, назвою музею та своєю історією.
The man sits in a three-quarter pose, his gaze directed toward the right as if acknowledging a presence just beyond the frame. He wears the heavy, dark fabric of a hussar-style uniform, a garment of deep blues and blacks that absorbs the light. Against this somber void, the gold of his braided aiguillettes catches the lamp, creating rhythmic, metallic curves across his chest. A single white plume rises from his…
The sitter meets the gaze with a quiet, steady authority, his presence filling the space between the viewer and the dark, heavy drapery that frames him. He is a man of status, captured in a moment of stillness that feels heavy with the weight of his station. His military tunic, a deep and commanding scarlet, catches the light, revealing the intricate, braided patterns of hussar-style frogging that run across his…
In this mid-19th-century oil portrait, we encounter Admiral Mikhail Lazarev in a moment of quiet, resolute authority. He is presented in a three-quarter view, seated with arms crossed, a posture that suggests both a settled confidence and a certain stoicism. The composition is framed within an oval shape, drawing the eye immediately to the subject's face and the heavy, gold-braided epaulettes that catch the light. There is a weight to…
The portrait presents Nikolay Ivanovich Lorer, a Major of the Vyatka Infantry Regiment, captured in a three-quarter view against a vast, atmospheric landscape. He is dressed in a formal military-style uniform, where the deep black of the fabric meets a striking red collar, creating a sharp silhouette against the soft, muted tones of the background. The composition places the subject slightly off-center, grounding him within a setting of distant, snow-capped…
The air in the room feels heavy with the weight of command as Admiral Mikhail Lazarev sits before us. He is a man carved from experience, his gaze steady and unyielding, meeting the viewer with the quiet confidence of one who has weathered countless storms. He is draped in the dark, somber navy of his ceremonial regalia, a uniform that speaks of duty and the rigid hierarchies of the mid-19th…
The gaze of Yelena Volkova meets the viewer from within a dark, circular boundary. It is a quiet encounter, captured in 1847. The composition focuses on her bust, centered and still. Soft light falls from the front left, casting gentle shadows that give her face a subtle, three-dimensional weight. Her dark hair curls softly around a face rendered in pale, luminous tones. She wears a garment of deep black, its…
Чотири сюжети, які найчастіше зустрічаються в цих оригіналах, кожен із найкращим прикладом.
1 музеїв, у яких зберігається більшість картин на цій сторінці.
| Музей | Місто | Твори Robert Schwede | Картини зі цього списку |
|---|---|---|---|
 Державний музей-заповідник «Ермітаж» |
Санкт-Петербург | 6 | Portrait of Nikolai Monsey, Portrait of Konstantin Monsey, Portrait of Admiral Mikhail Lazarev |
Лише за десятиліття, з 1841 по 1848, цей період подарував світу кожну датовану оригінальну роботу Robert Schwede у цій добірці: ось вони, рік за роком.
Оберіть рік, щоб переглянути оригінали.
The portrait presents Nikolay Ivanovich Lorer, a Major of the Vyatka Infantry Regiment, captured in a three-quarter view against a vast, atmospheric landscape. He is dressed in a formal military-style uniform, where the deep black of the fabric meets a striking red collar, creating a sharp silhouette against the soft, muted tones of the background. The composition places the subject slightly off-center, grounding him within a setting of distant, snow-capped…
The air in the room feels heavy with the weight of command as Admiral Mikhail Lazarev sits before us. He is a man carved from experience, his gaze steady and unyielding, meeting the viewer with the quiet confidence of one who has weathered countless storms. He is draped in the dark, somber navy of his ceremonial regalia, a uniform that speaks of duty and the rigid hierarchies of the mid-19th…
In this mid-19th-century oil portrait, we encounter Admiral Mikhail Lazarev in a moment of quiet, resolute authority. He is presented in a three-quarter view, seated with arms crossed, a posture that suggests both a settled confidence and a certain stoicism. The composition is framed within an oval shape, drawing the eye immediately to the subject's face and the heavy, gold-braided epaulettes that catch the light. There is a weight to…
The gaze of Yelena Volkova meets the viewer from within a dark, circular boundary. It is a quiet encounter, captured in 1847. The composition focuses on her bust, centered and still. Soft light falls from the front left, casting gentle shadows that give her face a subtle, three-dimensional weight. Her dark hair curls softly around a face rendered in pale, luminous tones. She wears a garment of deep black, its…
The man sits in a three-quarter pose, his gaze directed toward the right as if acknowledging a presence just beyond the frame. He wears the heavy, dark fabric of a hussar-style uniform, a garment of deep blues and blacks that absorbs the light. Against this somber void, the gold of his braided aiguillettes catches the lamp, creating rhythmic, metallic curves across his chest. A single white plume rises from his…
Більше від 1848
Portrait of Nikolai Monsey (1848), Державний музей-заповідник «Ермітаж», Санкт-Петербург. Далі йдуть Portrait of Konstantin Monsey (1848) та Portrait of Admiral Mikhail Lazarev (1845).
42 років: Portrait of Nikolai Monsey датована 1848 роком, а Robert Schwede народився(-лася) у 1806.
Наш каталог містить 6 робіт Robert Schwede, датованих періодом з 1841 по 1848.
Переважно в Державний музей-заповідник «Ермітаж» (Санкт-Петербург). У таблиці музеїв вище наведено їхній повний перелік.
У 1848: 2 із 6 робіт на цій сторінці були створені тоді, серед них Portrait of Nikolai Monsey.
На цій сторінці найдавніша робота датована Portrait of the Decembrist N.I. Lorer (1841), а найновіша — Portrait of Nikolai Monsey (1848).
Man (5), Military uniform (4) та Gold embroidery (2), у 6 роботах на цій сторінці.
Oil On Canvas, для 5 із 6 робіт на цій сторінці.
Academic realism, судячи з оригіналів на цій сторінці.
Portrait of Nikolai Monsey, Portrait of Konstantin Monsey та Portrait of Admiral Mikhail Lazarev: Державний музей-заповідник «Ермітаж», Санкт-Петербург зберігає 6 робіт із цієї сторінки.
Robert Schwede lived his life within the shifting landscapes of the Baltic region and the Russian Empire. Born in Mõisaküla on 6 December 1806, he was a man of German-Baltic roots who found his professional home in Saint Petersburg. His path was shaped by the rigorous halls of the Imperial Academy of Fine Arts, where he studied the formal traditions of the era. It was here that he earned the title of free artist, a distinction that marked his official entry into the professional art community.
His family connections placed him within a small circle of creators. He was the cousin of Theodore Schwede, another painter associated with the Saint Petersburg Academy. This shared environment of study and practice meant that his early development was deeply rooted in the academic standards of the time. While some historical records suggest he passed away in 1870, others note 1871 as the year his life reached its end.
Schwede focused much of his energy on the study of people and the natural world. He specialized in portraiture and landscapes, using oil on canvas to capture the likenesses of those around him. His work often brought him into contact with the prominent figures of Russian society, including military officers and members of the high aristocracy. One notable example is his portrait of Pavel Petrovitch Melnikov, a man who served as a Major General and played a significant role in the development of the St Petersburg-Moscow railway.
His approach to painting was influenced by the techniques he learned during his training. While he was a contemporary and pupil of Karl Timoleon von Neff, he did not simply mimic the Raphael tradition. Instead, he adopted various methods to document the faces and settings of his era. His portraits, such as the one of Maria Miln held in the Latvian National Art Museum, remain among the most recognizable pieces of his output.
Much of what remains of Schwede's career is found in private collections or scattered across different regions. While many of his over thirty known works are held by the descendants of his family in Russia and Germany, his connection to Latvia remains a central part of his story. He is often remembered as a painter whose work bridged the gap between Baltic and Russian artistic identities.
The difficulty in studying his full body of work arises from the fact that many of his landscapes are known only through photographs. This makes it hard to fully grasp the breadth of his natural scenes. Nevertheless, his ability to capture the presence of historical figures through portraiture ensures his place in the history of nineteenth-century painting.
