Still Life with Green Bowl (1935) je obraz, podle kterého je nejznámější Hermann Euler; nachází se v Bavarské státní sbírky malby, Mnichov. Náš katalog obsahuje 2 děl umělce Hermann Euler. Zde je 2 nejznámějších děl včetně roku vzniku, muzea a příběhu každého plátna.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026.
Muzeum, které má v této kolekci nejvíce obrazů.
| Muzea | Město | Díla autora Hermann Euler | Obrazy z tohoto seznamu |
|---|---|---|---|
| Mnichov | 2 | Still Life with Green Bowl, Strauss |
Plátna od Hermann Euler z tohoto období pocházející všechna patří do roku 1935: zde jsou, seřazena podle slávy.
Still Life with Green Bowl (1935)
Hermann Euler, narozen 1900, měl 35 let: dílo Still Life with Green Bowl pochází z roku 1935.
V našem katalogu je 2 děl umělce Hermann Euler.
Většinou v Bavarské státní sbírky malby (Mnichov); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1935, které tvoří 2 z 2 děl na této stránce, mezi nimi i Still Life with Green Bowl.
Muzeum Bavarské státní sbírky malby, Mnichov se vlastní 2 děl z této stránky, mezi nimiž jsou i Still Life with Green Bowl a Strauss.
Born in Aschaffenburg, Germany, Hermann Euler was the son of Konrad Euler and Meta Hein. His artistic path began in Munich, where he initially pursued painting without formal training before attending the Malschule of Moritz Heymann. He later studied at the Academy of Fine Arts Munich, first in the class of Heinrich von Zügel and subsequently under Angelo Jank, from whom he graduated as a master student in 1927. In 1925, he joined the Künstlervereinigung Münchner Secession. His travels to Norway and France, often accompanied by his wife, the painter Daisy Campi, were significant to his development. In 1934, Euler moved his family from Munich to a farm in Eichbichl am Rinssee. His later years included travels to Italy, Yugoslavia, France, and Spain, until his death in 1970.
Euler’s work evolved from impressionistic subject dissolution toward a cultivated expressive handwriting. His paintings are characterized by a certain rhythm and decisiveness in form, often appearing as if written onto the canvas with a vigorous gesture. He was a skilled draftsman, and in his later years, he frequently utilized a black brushstroke over a more glazing paint application. His technique involved applying oil paint alla prima onto a primed canvas, resulting in surfaces that varied from thick impasto to matte, glazing layers. His subject matter often drew from the immediate surroundings of his farm, including walled cottage gardens and still lifes placed within landscapes, which challenged traditional perceptions of scale and proportion.