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1 幅最著名的 Else Wex Cleemann 作品，画廊精选
更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 2 件 Else Wex Cleemann 作品收录于我们的目录中
简而言之
在 Else Wex Cleemann 留下的所有原作中，最著名的当属收藏于 慕尼黑 巴伐利亚州绘画收藏馆 的《Knabenbildnis (1934)》。 我们的目录收录了 Else Wex Cleemann 的 2 件作品；画廊完整保留了 1 件享誉世界的杰作，并为每一件作品详细标注了创作日期、馆藏机构及其背后的故事。
1890 – 1978, Ciudad Bolívar
藏品最多：巴伐利亚州绘画收藏馆
Else Wex Cleemann 的十大名画：画廊精选
收藏有 Else Wex Cleemann 原作的博物馆
收藏了本页中大部分画作的 1 家博物馆。
| 博物馆 | 城市 | Else Wex Cleemann 的作品 | 此列表中的画作 |
|---|---|---|---|
 巴伐利亚州绘画收藏馆 |
慕尼黑 | 1 | Knabenbildnis |
Else Wex Cleemann 的年度历程：定义其艺术风格的原创之作
此精选系列中每件 Else Wex Cleemann 作品的创作年份均为 1934：以下按知名度排序。
年度作品数量
选择年份以查看原作。
藏家关于 Else Wex Cleemann 作品的常见问题
Else Wex Cleemann 最著名的作品是哪一件？揭晓答案
Knabenbildnis (1934)
创作 Knabenbildnis 时，Else Wex Cleemann 是多少岁？揭晓答案
44岁：Knabenbildnis创作于1934年，Else Wex Cleemann出生于1890年。
Else Wex Cleemann 留下了多少幅画作？揭晓答案
我们的目录中收录了 2 件 Else Wex Cleemann 的作品。
Else Wex Cleemann 的杰作收藏在哪些博物馆中？揭晓答案
多见于 巴伐利亚州绘画收藏馆 (慕尼黑)。上方的博物馆列表列出了所有相关机构。
Else Wex Cleemann：生平与作品
Life and Artistic Journey
Born in Ciudad Bolívar, Venezuela, Else Wex Cleemann was a German painter and etcher. After her family moved to Hamburg, she studied at the Kunstgewerbeschule, eventually qualifying as a drawing teacher. Her formal training continued in Berlin at the art school of Arthur Lewin-Funcke, where she studied under Lovis Corinth, and later in Hamburg, where she studied graphics with Fritz Behnke. Following a period in Paris, she became active in the artistic circles of Hamburg and Lübeck.
Her work during the 1920s was characterized by a style influenced by New Objectivity, noted for its luminous color and the sharpness and clarity of external forms. Her subjects included portraits and landscapes, often inspired by travels to Italy, Munich, Norway, Denmark, Holland, and France. In 1933, she married Jan Cleemann.
Exhibitions and Legacy
The career of Else Wex Cleemann was marked by significant historical complexities. In 1937, her oil painting Old Factory (Factory Courtyard) was confiscated by the Kunsthalle zu Kiel as degenerate art. During the same period, her portrait of Hermann Behme was exhibited in the Great German Art Exhibition. Her 1937 self-portrait, Self-Portrait as Eva, reflects the ambivalence of both rejection and success during the National Socialist era.
In the years following the Second World War, she participated in numerous exhibitions, though she lived a more withdrawn life in her later years due to a lack of acceptance for her work. Recently, her work has undergone a positive re-evaluation, with pieces featured in exhibitions such as Spannungsfeld Weimar. Kunst und Gesellschaft 1919-1933 and Kunst in „Dritten Reich“.