Det mest kjente maleriet av Anton Pick er River Landscape in Switzerland (1850). View of the Mondsee (1902) og The Tellskapelle on Lake Lucerne (1905) er de neste i rekken av maleriene leserne kjenner best. Vår katalog inneholder 5 verk av Anton Pick: her er de 5 mest kjente, hver med årstall, museum og hva som gjør dem minneverdige.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert November 2026. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon på linlerret, eller som et kunsttrykk i ønsket størrelse.
Anton Pick ved staffeliet gjennom 56 år, fra 1850 til 1905: de mest elskede maleriene fra hvert år, i kronologisk rekkefølge.
River Landscape in Switzerland (1850), etterfulgt av View of the Mondsee (1902) og The Tellskapelle on Lake Lucerne (1905).
Anton Pick, født i 1840, var 10 år gammel: River Landscape in Switzerland er fra 1850.
5 verk av Anton Pick finnes i vår katalog, datert fra 1850 til 1905.
Det eldste lerretet her er fra River Landscape in Switzerland (1850); det nyeste er fra The Tellskapelle on Lake Lucerne (1905).
Ja. Hvert maleri på denne siden kan bestilles fra sin egen side som en håndmalt oljereproduksjon, eller som et kunsttrykk i den størrelsen du velger.
The light shifts over the Austrian landscape, catching the ripples of a mountain lake. Anton Pick captures these fleeting moments through a lens of quiet observation. Born in 1840, his life is tied to the geography of Central Europe, a region defined by its dramatic peaks and serene waters. His brushwork seeks to translate the physical weight of the mountains and the transparency of the lakes into a visual language of light and shadow.
His work often centers on the specificities of the Austrian terrain. He does not merely paint scenery; he documents the atmosphere of a place. Whether it is the stillness of a riverbed or the architectural presence of a castle hill, his focus remains on the intersection of nature and the human environment. The compositions often lead the eye through a sequence of natural layers, from the immediate foreground to the distant, hazy summits.
The artist's output is defined by a commitment to the specificities of the Alpine and lakeside regions. His subjects are not abstract concepts but tangible locations that demand a precise understanding of light and perspective. His catalog reveals a deep connection to several key sites:
This dedication to place creates a body of work that functions as a visual record of the 19th-century landscape. His technique relies on the ability to balance the heavy, solid forms of rock and architecture against the fluid, shifting qualities of water and sky.
The final years of his life see a continued focus on these natural vistas. While some records suggest his passing occurred in 1902, others place his death in 1905. Regardless of the exact year, his influence remains tied to the tradition of landscape painting. His works, such as those depicting the Grundlsee with the Backenstein in the background, continue to find their way into collections and auctions, maintaining a presence in the market for Austrian landscape art.
His paintings remain sought after for their ability to transport the viewer to a specific, quiet moment in the Austrian wilderness. They are studies in light, geography, and the enduring presence of the mountains.