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Saint Martin am Silberberg
Handgeschilderde olieverfreproductie vanaf $178 27 × 37 cm
Zelfde formaat als het origineel $299 63 × 79 cm Bestel in de originele afmetingen →
Jean Egger, 1897 – 1934
De 1 bekendste schilderijen van Jean Egger
Saint Martin am Silberberg (1929) is het schilderij waar Jean Egger het meest om bekendstaat. Onze catalogus bevat 1 werken van Jean Egger. Hier zijn de 1 bekendste, inclusief het jaar, het museum en het verhaal achter elk canvas.
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
- 1897 – 1934, Hüttenberg
- Werken in onze catalogus
- 1
- Meest bekend
- Saint Martin am Silberberg (1929)
De tien meest geliefde schilderijen van Jean Egger
De beroemdste doeken van Jean Egger, jaar na jaar
De gedateerde doeken van Jean Egger op deze pagina stammen allemaal uit 1929: hier zijn ze, in volgorde van bekendheid.
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1929
Op nummer 1 van 1Saint Martin am Silberberg
De doeken van Jean Egger, vraag voor vraag
Waarom wordt Jean Egger het meest herinnerd om welk canvas?Lees het antwoord
Saint Martin am Silberberg (1929)
Saint Martin am Silberberg: hoe oud was Jean Egger toen dit werd geschilderd?Lees het antwoord
Jean Egger, geboren in 1897, was 32 jaar oud: Saint Martin am Silberberg dateert uit 1929.
Hoeveel schilderijen heeft Jean Egger gemaakt?Lees het antwoord
1 werken van Jean Egger staan in onze catalogus.
Waar kan ik een reproductie van een schilderij van Jean Egger 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.
Maak kennis met de schilder: Jean Egger
The Early Years and the Munich Influence
Born in 1897 in Hüttenberg, Carinthia, the man who would later be known as Jean Egger began his life as Hans Egger. His path toward a life of color and form was shaped by the rigorous training he received at the Munich Art Academy between 1918 and 1922. During these formative years, he studied under Heinrich von Zügel and Carl Johann Becker-Gundahl, the latter of whom left a lasting mark on his approach to the canvas. Before he could fully establish himself as a painter, the realities of the First World War intervened; due to health concerns, he was spared from active combat and instead served as a clerk for the military in Klagenfurt.
His curiosity eventually pulled him away from the familiar landscapes of Austria. He traveled through Italy, Holland, and Scandinavia, seeking a new way to see the world. It was during these travels that he encountered the works and presence of Edvard Munch, an encounter that coincided with a period of profound personal and artistic transition. By 1925, he had moved to Paris, a city that was then the beating heart of the modern art scene. It was in this atmosphere of creative ferment that he adopted the name Jean Egger and became a member of the Société des artistes français.
The Paris Years and the Search for Expression
In Paris, Egger found himself immersed in the vibrant social and intellectual circles of Montparnasse. He moved among the significant figures of the era, including Chaim Soutine, Moise Kisling, and Leopold Zborowski. His life during this period was deeply intertwined with Signe Wallin, who became his partner and his muse. Together, they sought out new light and new subjects, even traveling to Sweden in 1930 to capture the northern landscapes. His work from this time began to show a distinct shift in character.
His technique moved toward a more gestural and dynamic style. He began to favor the dissolution of form, using color with a sense of liberation that broke away from traditional constraints. His paintings often appeared as if they were captured in a moment of rapid movement, where the subject was suggested through bold, sweeping strokes rather than precise lines. This approach earned him recognition in the Salon of the Artistes Indépendants and the Salon of the Tuileries, marking him as a significant voice in the interwar period.
Final Days and Lasting Impact
Health eventually dictated the direction of his life. A lung disease forced him and Signe Wallin to leave the bustling streets of Paris for the quieter, warmer climate of Mallorca in 1932. The peace of the Spanish island was short-lived, however. He died in 1934 in Klagenfurt, Carinthia, from complications related to tuberculosis. His life was cut short, yet the energy he poured into his canvases remained.
Today, his legacy is preserved in several institutions, including the Lentos Kunstmuseum Linz and the Museum der Moderne Salzburg. His work is characterized by:
- A dynamic, gestural application of paint.
- The liberation of color from strict representational boundaries.
- A radical approach to the dissolution of form.
Though his time was brief, his contribution to Austrian modernism remains a subject of study for those interested in the evolution of early 20th-century painting.