Self-portrait (1379) is the painting 페터 파를러 is best remembered for; it belongs to the 성 비투스 대성당, 프라하. Head of Charles IV (1375) and 자기 초상화 (1379) complete the trio of best-loved canvases. Our catalogue counts 4 works by 페터 파를러. Here are the 4 most famous, with the year, the museum and the story of each canvas.
각 작품의 검색, 방문 및 주문 수를 결합한 인기 점수를 기준으로 순위를 매깁니다. 10월 2026 업데이트됨. 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…
피터 파를르의 자화상에 대한 심층 분석 피터 파를르는 13세기 후반 독일과 보헤미아에서 활동한 건축가이자 조각가로, 특히 라틴 노마니즘 기법을 활용하여 고딕 양식과 초기 레오네스코 시대 사이의 예술적 전환기를 이끌었습니다. 그는 단순한 화가였던 것이 아니라 건축 디자인과 조각 기술 모두 뛰어났으며, 그의 작품은 당시 유럽 미술에 지대한 영향을 미쳤습니다. 특히 프라하 성 비투스 대성당 건설을 통해 고딕 양식의 정수를 보여주며 역사적인 건축가로 명성을 얻었습니다. 파를르의 자화상은 1379년에 제작되었으며, 그는 자신의 작품과…
The four subjects that return most often on these canvases, each with its best-loved example.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 2개의 미술관
| 소장 미술관 | 도시 | 페터 파를러의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 성 비투스 대성당 |
프라하 | 3 | Self-portrait, Head of Charles IV, 자기 초상화 |
 성 비투스 대성당 |
프라하 | 1 | Tomb of Ottokar II |
페터 파를러'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…
피터 파를르의 자화상에 대한 심층 분석 피터 파를르는 13세기 후반 독일과 보헤미아에서 활동한 건축가이자 조각가로, 특히 라틴 노마니즘 기법을 활용하여 고딕 양식과 초기 레오네스코 시대 사이의 예술적 전환기를…
Self-portrait (1379), 성 비투스 대성당, 프라하. Head of Charles IV (1375) and 자기 초상화 (1379) follow.
페터 파를러, born in 1330, was 49 years old: Self-portrait dates from 1379.
4 works by 페터 파를러 are in our catalogue, dated 1375 to 1379.
Mostly in 성 비투스 대성당 (프라하) 및 성 비투스 대성당 (프라하); 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 성 비투스 대성당, 프라하 holds 3 of the works on this page, among them Self-portrait, Head of Charles IV 및 자기 초상화.
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.
