Nejoblíbenějším dílem autora Felix Meyer je Landscape with Mountain Stream (1705), které je vystaveno v instituci Kunsthistorisches Museum, Vídeň. Následují Lower "Grindelwald Glacier" (1700) a Landscape with Tobias and the Angel z platen, která čtenáři znají nejlépe. Náš katalog obsahuje 3 děl umělce Felix Meyer: zde je 3 nejznámějších, z nichž každé uvádí svůj rok vzniku, muzeum a důvod, proč je nezapomenutelné.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
Landscape with Mountain Stream is a landscape painting by Felix Meyer. The brush captured this scene between circa 1700 and circa 1710. It remains a quiet witness to the Alpine spirit through the artist's hand.
3 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Felix Meyer | Obrazy z tohoto seznamu |
|---|---|---|---|
 Kunsthistorisches Museum |
Vídeň | 1 | Landscape with Mountain Stream |
 Building of the Winterthur Museum of Art |
Winterthur | 1 | Lower "Grindelwald Glacier" |
 Metropolitan Museum of Art |
New York | 1 | Landscape with Tobias and the Angel |
Plátna umělce Felix Meyer na této stránce pokrývají období pouhých 6 let, od 1700 do 1705: sledujte je rok po roce, v jejich vlastním světle.
Landscape with Mountain Stream is a landscape painting by Felix Meyer. The brush captured this scene between circa 1700 and circa 1710. It remains a quiet witness to…
Landscape with Mountain Stream (1705), Kunsthistorisches Museum, Vídeň. Následují Lower "Grindelwald Glacier" (1700) a Landscape with Tobias and the Angel.
Felix Meyer, narozen 1653, měl 52 let: dílo Landscape with Mountain Stream pochází z roku 1705.
V našem katalogu je 3 děl umělce Felix Meyer, datovaných od 1700 do 1705.
Většinou v Kunsthistorisches Museum (Vídeň), Building of the Winterthur Museum of Art (Winterthur) a Metropolitan Museum of Art (New York); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
Nejstarší plátno se zde datuje do Lower "Grindelwald Glacier" (1700); nejnovější je z Landscape with Mountain Stream (1705).
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
In the quiet, mist-shrouded landscapes of late seventeenth-century Switzerland, a profound artistic voice emerged from the town of Winterthur. Felix Meyer, born in 1653, was more than a mere chronicler of scenery; he was an engraver and painter whose brush captured the rugged, sublime majesty of the Alpine spirit. His journey began in his native Winterthur, but the thirst for artistic refinement soon drew him across borders. In 1678, Meyer traveled to Nuremberg, a vibrant center of European art, where he immersed himself in the rigorous study of painting and the fine arts. It was during this formative period that he encountered the influential Georg Philipp Rugendas, a meeting that likely deepened his understanding of landscape composition and the interplay of light and shadow.
Upon returning to Winterthur, Meyer’s work began to reflect a deep, intimate connection to the geography of his homeland. He possessed a rare ability to translate the formidable presence of mountains and the slow, powerful movement of glaciers onto canvas and copperplate. His landscapes were not merely static depictions but lived environments, where the biting chill of a mountain breeze or the heavy silence of a valley could be felt through his meticulous technique. This dedication to topographical truth allowed him to document the natural wonders of the Swiss landscape with an authenticity that resonated with both local pride and broader European curiosity.
Meyer’s existence was characterized by a unique duality, as he balanced the disciplined life of a civic leader with the contemplative solitude required of a master engraver. His commitment to his community was profound; starting in 1688, he ascended through the ranks of local politics, serving first as a First Sergeant in Winterthur and later, in 1697, as a member of the Grand Council. This involvement in the machinery of governance suggests a man of great stability and social standing, yet his heart remained tethered to the wandering eye of the artist. His travels briefly took him to Bern between 1699 and 1703, further expanding his visual vocabulary with new vistas and perspectives.
The later years of his life saw him returning to the familiar surroundings of Winterthur, where he eventually served as a steward at the Wyden Castle. Even within the structured confines of such an administrative role, his artistic legacy continued to grow. His mastery extended across various media, including:
Though Felix Meyer may not have achieved the global celebrity of some of his contemporaries, his historical significance lies in his role as a vital link in the tradition of European landscape art. He helped bridge the gap between topographical documentation and the emotive power of the Romantic movement that would follow decades later. His works, characterized by an honest reverence for the natural world, continue to be preserved in prestigious institutions such as the Kunstmuseum Winterthur and the Städel Museum.
Today, when we look upon his depictions of the Unterer Grindelwaldgletscher or his pastoral scenes, we see more than just historical artifacts. We witness a master who understood that to paint a mountain is to attempt to capture the eternal. Through his eyes, the glaciers and peaks of Switzerland were transformed into enduring symbols of strength and beauty, ensuring that while the man passed in 1713, his vision of the Alpine sublime remains forever unyielding.
