Self-portrait (1379) is the painting Πέτερ Παρλέρ is best remembered for; it belongs to the Καθεδρα του Αγίου Βιτά και της Παναγίας της Θεοτόκου στην Πράγα, Πράγα. Head of Charles IV (1375) and Αυτοπροσωπογραφία (1379) complete the trio of best-loved canvases. Our catalogue counts 4 works by Πέτερ Παρλέρ. Here are the 4 most famous, with the year, the museum and the story of each canvas.
Καταταγίζονται με βάση το σκορ δημοφιλίας μας, το οποίο συνδυάζει τις αναζητήσεις, τις επισκέψεις και τις παραγγελίες για κάθε έργο. Ενημερώθηκε Οκτώβριος 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
To look upon this relief is to encounter a man caught in a moment of quiet contemplation. Carved from stone around 1379, this bust offers a rare, intimate glimpse into the identity of Peter Parler. He presents himself not as a distant figure of authority, but as a man of flesh and bone, rendered with a startling degree of naturalism. The head is slightly tilted, a subtle movement that breaks…
A heavy silence resides in the gray stone of this bust. The face of Charles IV emerges from the material, a study in rigid dignity and the weight of a crown. Light falls across the brow, catching the deep-set eyes and the sharp, carved lines of a beard that seems to hold the dust of centuries. It is a portrait of a man who shaped a kingdom, rendered in the…
Η Αυτοπροσωπογραφία του Πιερ Παλέρ: Μια Στιγμή Ενδοσκόπησης στην Κληρονομιά της Γοτθικής Τέχνης Η Αυτοπροσωπογραφία του Πιερ Παλέρ αποτελεί ένα συγκλονιστικό έργο τέχνης που αντικρίζει τον θεατή με μια αίσθηση βαθιάς εσωτερικής αναζήτησης και ιστορικής σημασίας. Δημιουργημένη το 1379 από τον Γερμανό αρχιτέκτονα και σχαπίστη Πιερ Παλέρ, η σκηνή απεικονίζει τον ίδιο τον καλλιτέχνη σε μια εντυπωσιακή αναπαράσταση που ξεχωρίζει για την ακρίβεια των λεπτομερειών και την εκφραστική δύναμη της…
The four subjects that return most often on these canvases, each with its best-loved example.
Τα 2 μουσεία που φιλοξενούν το μεγαλύτερο μέρος των έργων σε αυτήν τη σελίδα.
| Μουσεία | Πόλη | Έργα του Πέτερ Παρλέρ | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Καθεδρα του Αγίου Βιτά και της Παναγίας της Θεοτόκου στην Πράγα |
Πράγα | 3 | Self-portrait, Head of Charles IV, Αυτοπροσωπογραφία |
 Καθεδρικός Ναός Αγίου Βίτου |
Πράγα | 1 | Tomb of Ottokar II |
Πέτερ Παρλέρ's dated canvases on this page run from 1375 to 1379, only 5 years: here they are, year after year.
A heavy silence resides in the gray stone of this bust. The face of Charles IV emerges from the material, a study in rigid dignity and the weight…
To look upon this relief is to encounter a man caught in a moment of quiet contemplation. Carved from stone around 1379, this bust offers a rare, intimate…
Η Αυτοπροσωπογραφία του Πιερ Παλέρ: Μια Στιγμή Ενδοσκόπησης στην Κληρονομιά της Γοτθικής Τέχνης Η Αυτοπροσωπογραφία του Πιερ Παλέρ αποτελεί ένα συγκλονιστικό έργο τέχνης που αντικρίζει τον θεατή με…
Self-portrait (1379), Καθεδρα του Αγίου Βιτά και της Παναγίας της Θεοτόκου στην Πράγα, Πράγα. Head of Charles IV (1375) and Αυτοπροσωπογραφία (1379) follow.
Πέτερ Παρλέρ, born in 1330, was 49 years old: Self-portrait dates from 1379.
4 works by Πέτερ Παρλέρ are in our catalogue, dated 1375 to 1379.
Mostly in Καθεδρα του Αγίου Βιτά και της Παναγίας της Θεοτόκου στην Πράγα (Πράγα) και Καθεδρικός Ναός Αγίου Βίτου (Πράγα); the list above names each museum and its canvases.
In 1379, which gave 2 of the 4 works on this page, Self-portrait among them.
The earliest canvas here is Head of Charles IV (1375); the latest is Self-portrait (1379).
Stone, used in 2 of the 4 works on this page.
The Καθεδρα του Αγίου Βιτά και της Παναγίας της Θεοτόκου στην Πράγα, Πράγα holds 3 of the works on this page, among them Self-portrait, Head of Charles IV και Αυτοπροσωπογραφία.
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
In the heart of the Late Middle Ages, a period defined by soaring spires and profound devotion, Peter Parler emerged as one of the most influential architects and sculptors of his era. Born into a distinguished dynasty of master builders, he carried the weight of tradition while simultaneously forging a new, expressive language for European architecture. Known variously as Peter von Gemünd or Petr Parléř, his identity was inextricably linked to the Parler family, a lineage of craftsmen whose influence stretched across much of Central Europe. His journey began in the town of Schwäbisch Gmünd, Germany, where he received his early training, eventually leading him to work at significant medieval building sites including Strasbourg, Cologne, and Nuremberg.
The trajectory of Parler’s career reached its zenith when he moved to Prague, the capital of the Kingdom of Bohemia. Here, under the patronage of the Holy Roman Empire, he was able to realize a vision of architectural grandeur that would define the skyline of the city for centuries. His work at St. Vitus Cathedral stands as his most enduring legacy, a monumental achievement where he utilized complex networks of ribbed vaults to create an interior that seems to defy gravity. Through his engineering brilliance, the heavy stone walls appear light and ethereal, allowing for expansive windows that transform the cathedral into a vessel for celestial light.
Parler was not merely a builder of structures but a sculptor of profound emotional depth. His ability to breathe life into cold stone allowed him to bridge the gap between the rigid forms of earlier Gothic traditions and a more naturalistic, human-centric approach. This mastery is perhaps most intimately captured in his Self-Portrait, an evocative piece that offers a rare glimpse into the artist's own contemplative soul. In this work, one can observe the meticulous craftsmanship required to render the subtle textures of hair and the serene expression of a man deeply engaged with both his faith and his craft.
His sculptural contributions often complemented his architectural feats, creating a unified aesthetic experience within the sacred spaces he designed. Notable works such as the Head of Charles IV demonstrate his ability to capture individual character and royal dignity through the Late Gothic style. His achievements were not isolated incidents but part of a broader movement of artistic innovation that saw:
Through his hands, the stone became a chronicle of history, an enduring testament to the skill of the Parler family. His life's work remains etched in the very fabric of Europe, serving as a bridge between the medieval world and the burgeoning complexities of the later centuries.
