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） · 3 件 Hermann Stilke 作品收录于我们的目录中
简而言之
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843) 是 Hermann Stilke 最受瞩目的画作；原作收藏于 圣彼得堡 的 冬宫博物馆。 随后，目光会移向 Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843) 和 Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)。 在 Hermann Stilke 的 3 件作品中，这 3 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
1. Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) 1843
2. Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) 1843
3. Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) 1843
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) is a religious oil on canvas painting by Hermann Stilke. Executed in 1843, the work originates from Germany. It functions as the right-hand component of a larger three-part narrative cycle focused on the life of the Maid of Orleans.
Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) is a work by the German painter Hermann Stilke. Executed in 1843, the oil on canvas composition functions as the kinetic core of a larger three-part narrative cycle. This central panel captures the decisive Battle of Patay, a significant engagement in the Hundred Years' War.
We are looking at Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych), a significant religious art object painted by Hermann Stilke. This specific piece was created in Germany in 1843. It represents the left-hand component of a larger triptych, a structural arrangement that allows for a narrative progression through the life of the subject.
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 1 家博物馆。
| 博物馆 | 城市 | Hermann Stilke 的作品 | 此列表中的画作 |
|---|---|---|---|
 冬宫博物馆 |
圣彼得堡 | 3 | Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych), Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych), Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) |
此处展示的所有 Hermann Stilke 原作均出自 1843 年；作品按知名度由高到低排列。
选择年份以查看原作。
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) is a religious oil on canvas painting by Hermann Stilke. Executed in 1843, the work originates from Germany. It functions as the right-hand component of a larger three-part narrative cycle focused on the life of the Maid of Orleans.
更多来自 1843
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)，冬宫博物馆, 圣彼得堡。紧随其后的是 Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) (1843) 和 Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych) (1843)。
40岁：Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych)创作于1843年，Hermann Stilke出生于1803年。
我们的目录中收录了 3 件 Hermann Stilke 的作品。
多见于 冬宫博物馆 (圣彼得堡)。上方的博物馆列表列出了所有相关机构。
在 1843 期间：本页 3 件作品中有 3 件创作于该时期，其中包含 Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych) 件作品。
Woman (3), Smoke (2) 及 Sky (2)，共计 3 件作品。
Oil On Canvas，共计 3 件（本页共有 3 件作品）。
Joan of Arc's Death at the Stake (Right-Hand Part of ''The Life of Joan of Arc'' Triptych), Joan of Arc in Battle (Central Part of ''The Life of Joan of Arc'' Triptych) 及 Appearance of Sts Catherine and Michael to Joan of Arc (Lef-Hand Part of ''The Life of Joan of Arc'' Triptych)：冬宫博物馆, 圣彼得堡收藏了本页中 3 件作品。
Born in Berlin in 1803, Anton Hermann Stilke did not initially intend to spend his days with a brush in hand. His early inclinations leaned toward agriculture, yet the pull of the visual arts proved too strong to resist. He began his formal training at the Berlin Academy under Carl Wilhelm Kolbe, finding his footing within the structured traditions of German academic art. By 1820, he was presenting his work to the public, marking the start of a career defined by rigorous study and a deep connection to the Düsseldorfer Malerschule.
His education was a sequence of significant encounters with the masters of his era. After leaving Berlin, he moved to the Kunstakademie Düsseldorf to study under Peter von Cornelius. This period of intense academic discipline shaped his approach to large-scale compositions and historical subjects. He later expanded his horizons through travels to Northern Italy and Rome, staying in the latter until illness forced a return home in 1833. These years abroad provided him with a direct connection to classical influences that would inform his later religious and romantic themes.
Stilke’s professional life was marked by significant commissions that required both technical skill and endurance. One of his most notable achievements involved the decoration of the Knights' Hall at Stolzenfels Castle near Koblenz. Working for the Prussian Crown Prince, Frederick William IV, he spent years between 1842 and 1846 executing large-scale murals. These works, known as the Six Knightly Virtues, demonstrated his ability to handle the demanding medium of fresco painting.
His talent for monumental work extended beyond the Rhineland. In Munich, he contributed frescoes to the arcades of the Hofgarten. His repertoire often focused on the dramatic and the spiritual, seen in works such as:
As his career progressed, Stilke transitioned from a student and teaching assistant to a position of academic authority. After years spent moving between Düsseldorf and Munich, he settled back in Berlin by 1850. His standing within the artistic community was formally recognized in 1854 when he was named a professor at the Berlin Academy, an institution he had been associated with since 1835.
His personal life was intertwined with the art world through his marriage to Sophia Hermine Stilke, a noted watercolorist and illustrator. Together, they navigated the prominent circles of the German art scene. Hermann Stilke passed away in Berlin in 1860 at the age of fifty-seven. He left behind a body of work that remains anchored in the academic traditions of the nineteenth century, characterized by his devotion to historical narrative and the permanence of fresco.