Doris Ulmann, 1882 – 1934
De 7 beroemdste schilderijen van Doris Ulmann, gerangschikt
Het meest geliefde schilderij van Doris Ulmann is Women Gathering Apples (1930), dat hangt in het Ogden Museum of Southern Art, New Orleans. Corn Shocks and Sky (1925) en Man in White Shirt in Field (1930) volgen daarna in de lijst met doeken die lezers het beste kennen. Onze catalogus bevat 7 werken van Doris Ulmann: hier zijn de 7 bekendste, elk met het jaartal, het museum en wat het werk zo bijzonder maakt.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde oliereductie op linnen canvas, of als een fine art print, uitgevoerd in de door u gekozen afmeting.
- Geboren · overleden
- 1882 – 1934
- Werken in onze catalogus
- 7
- Meest bekend
- Women Gathering Apples (1930)
- Meeste werken in
- Ogden Museum of Southern Art
Top 10 schilderijen van Doris Ulmann: de doeken die iedereen kent
6
Group at church meeting
is a photograph by Doris Ulmann, produced about 1930. The work captures a communal gathering within a church meeting room, documenting a moment of shared purpose among a group of men and women.
Handgeschilderde olieverfreproductie vanaf $178 27 × 37 cm
7
Man Leaning against a Wall
The Smithsonian American Art Museum is home to a diverse collection of American art, including the captivating photograph "Man Leaning against a Wall" by Doris Ulmann. This 1930 print measures 20 x 15 cm and showcases Ulmann's exceptional skill in capturing the essence of her subjects. The image features a man dressed in a hat and vest, leaning against a wooden wall with his hands in his pockets. The background…
Handgeschilderde olieverfreproductie vanaf $178 27 × 37 cm
Wat Doris Ulmann het meest schilderde
De vier onderwerpen die het meest voorkomen op deze doeken, elk met zijn meest geliefde voorbeeld.
Appalachian life 2 werken
Black and white 2 werken
Waar de doeken van Doris Ulmann hangen
De 3 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Doris Ulmann | Schilderijen uit deze lijst |
|---|---|---|---|
 Ogden Museum of Southern Art |
New Orleans | 1 | Women Gathering Apples |
 George Eastman Museum |
Rochester | 1 | Group at church meeting |
 Nationale Galerie van Armenië |
Jerewan | 1 | Man Leaning against a Wall |
De meest geliefde doeken van Doris Ulmann, jaar voor jaar
De gedateerde doeken van Doris Ulmann op deze pagina beslaan slechts 6 jaar, van 1925 tot 1930: volg ze jaar voor jaar, in hun eigen licht.
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1925
Canvas 2 van 7Corn Shocks and Sky
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1930
Op nummer 1 van 7Women Gathering Apples
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1930
Op nummer 3 van 7Man in White Shirt in Field
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1930
Canvas 4 van 7Woman on a Porch
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1930
Canvas 5 van 7Two Men in Doorway, with Tools
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1930
7 van 7Man Leaning against a Wall
The Smithsonian American Art Museum is home to a diverse collection of American art, including the captivating photograph "Man Leaning against a Wall" by Doris Ulmann. This 1930…
Over de doeken van Doris Ulmann: uw vragen beantwoord
Wat is het bekendste schilderij van Doris Ulmann?Lees het antwoord
Women Gathering Apples (1930), Ogden Museum of Southern Art, New Orleans. Corn Shocks and Sky (1925) en Man in White Shirt in Field (1930) volgen.
Hoe oud was Doris Ulmann toen Women Gathering Apples werd geschilderd?Lees het antwoord
Doris Ulmann, geboren in 1882, was 48 jaar oud: Women Gathering Apples dateert uit 1930.
Hoeveel werken heeft Doris Ulmann in totaal geschilderd?Lees het antwoord
7 werken van Doris Ulmann zijn opgenomen in onze catalogus, gedateerd van 1925 tot 1930.
Waar kan ik de beroemdste doeken van Doris Ulmann bekijken?Lees het antwoord
Voornamelijk in Ogden Museum of Southern Art (New Orleans), George Eastman Museum (Rochester) en Nationale Galerie van Armenië (Jerewan); de bovenstaande lijst vermeldt elk museum en de bijbehorende doeken.
Wanneer schilderde Doris Ulmann deze geliefde doeken?Lees het antwoord
In 1930, die 5 van de 7 werken op deze pagina vertegenwoordigt, waaronder Women Gathering Apples.
Wat zijn de vroegste en laatste beroemde doeken van Doris Ulmann?Lees het antwoord
Het oudste canvas hier is Corn Shocks and Sky (1925); het nieuwste is Women Gathering Apples (1930).
Wat schilderde Doris Ulmann het vaakst?Lees het antwoord
Appalachian life (2) en Black and white (2), verspreid over de 7 werken op deze pagina.
Kan ik een reproductie van een Doris Ulmann canvas kopen?Lees het antwoord
Ja. Elk schilderij op deze pagina kan via de eigen pagina worden besteld als een handgeschilderd olieverfreproductie, of als een fine art print, in de door u gekozen afmeting.
Doris Ulmann: een leven in verf
The Soul of the Lens: The Life and Legacy of Doris Ulmann
Doris Ulmann (1882–1934) stands as a singular figure in American photography, celebrated for her deeply empathetic portraits of the people inhabiting the Appalachian Mountains and the Gullah communities along South Carolina’s coast. More than simply documenting rural life, Ulmann achieved an artistic triumph by capturing the essence of human dignity and cultural richness—a feat accomplished with meticulous technique and unwavering humanist conviction. Her legacy continues to inspire photographers today who strive for authenticity and sensitivity in their visual narratives.
Born in New York City, Ulmann’s upbringing fostered a profound appreciation for social justice and individual worth, mirroring the ethos of the Ethical Culture Fieldston School where she received her formative education. This institution championed inclusivity and challenged prevailing societal prejudices—values that would profoundly shape her artistic vision. Her intellectual journey led her to Columbia University, where she studied psychology alongside fellow photographer Clarence H. White. This academic background established a crucial connection between scientific observation and artistic expression; it was White’s mentorship that ignited her passion for photography, transforming what began as a hobby into a professional devotion after 1918.
Pictorialism and the Art of the Image
Ulmann's photographic style firmly rooted itself in Pictorialism—a movement advocating for photography as an art form rather than merely a tool for recording reality. Rejecting the mechanistic processes of the Daguerreotype, she embraced more demanding methods that allowed for greater artistic control. She meticulously composed her images using a heavy view camera, a cumbersome apparatus requiring careful positioning and precise calculations to achieve optimal exposure. This labor-intensive approach was essential to her goal of creating images that felt more like paintings or soulful memories than mere snapshots.
Her technical mastery was often paired with an ethnographer's eye. While her work was deeply rooted in the aesthetic traditions of the time, it possessed a unique documentary weight. She did not merely observe; she participated in the quiet rhythms of her subjects' lives. Her ability to navigate different social strata—from the medical faculty of Johns Hopkins University to the craftsmen and musicians of the Southern mountains—demonstrates a remarkable versatility and a profound respect for the dignity of every sitter.
A Documentation of Vanishing Cultures
The most enduring aspect of Ulmann's career was her dedication to capturing the rural cultures of the southeastern United States. Between 1928 and 1934, she focused intensely on the people of Appalachia and the Gullah communities of the Sea Islands. Her work often sought to preserve the spirit of traditions that felt as though they were slipping away from the modernizing world. This period of intense documentation was marked by several significant milestones:
- Collaborative Narratives: Her collaboration with writer Julia Peterkin on the work Roll, Jordan, Roll stands as a landmark in American ethnographic portraiture, blending text and image to tell the story of the Gullah people.
- Cultural Preservation: Through her lens, the hands of craftsmen, the faces of musicians, and the quiet moments of communal life—such as those seen in Group at church meeting—were immortalized with a silvered, timeless beauty.
- Artistic Recognition: Her work was not confined to the periphery; it was exhibited in prestigious New York galleries and published in influential periodicals like Scribner's Magazine and Theatre Arts Monthly.
Ultimately, Doris Ulmann’s significance lies in her ability to transcend the role of a mere observer. Through her use of soft tones and evocative compositions, she elevated the portrait from a simple likeness to a profound meditation on human identity. She left behind a visual archive that serves as both a historical record and a poetic tribute to the resilience and grace of the American spirit.