Still Life with Green Bowl (1935) je obraz, pre ktorý je Hermann Euler najznámy; patrí do zbierky Bavarské štátne múzeá výtvarného umenia, Mních. Náš katalóg obsahuje 2 diel od umelca Hermann Euler. Tu je 2 najznámejších s uvedením roku, múzeá a príbehu každého plátna.
Poriadkované podľa nášho skóre popularity, ktoré kombinuje počet vyhľadávaní, návštev a objednávok pre každé dielo. Aktualizované november 2026.
Múzeum, ktoré vlastní najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Hermann Euler | Obrazy z tohto zoznamu |
|---|---|---|---|
| Mních | 2 | Still Life with Green Bowl, Strauss |
Plátna od Hermann Euler z tohto obdobia pochádzajú všetky z roku 1935: tu sú, usporiadané podľa slávy.
Still Life with Green Bowl (1935)
Hermann Euler, narodený v 1900, mal 35 rokov: Still Life with Green Bowl vznikol v roku 1935.
V našom katalógu sa nachádza 2 diel od Hermann Euler.
Väčšinou v Bavarské štátne múzeá výtvarného umenia (Mních); vyššie uvedený zoznam uvádza jednotlivé múzeá a ich plátna.
V období 1935, ktoré predstavuje 2 z 2 diel na tejto stránke, medzi nimi aj Still Life with Green Bowl.
V múzeu Bavarské štátne múzeá výtvarného umenia, Mních sa nachádza 2 z diel na tejto stránke, vrátane Still Life with Green Bowl a Strauss.
Born in Aschaffenburg, Germany, Hermann Euler was the son of Konrad Euler and Meta Hein. His artistic path began in Munich, where he initially pursued painting without formal training before attending the Malschule of Moritz Heymann. He later studied at the Academy of Fine Arts Munich, first in the class of Heinrich von Zügel and subsequently under Angelo Jank, from whom he graduated as a master student in 1927. In 1925, he joined the Künstlervereinigung Münchner Secession. His travels to Norway and France, often accompanied by his wife, the painter Daisy Campi, were significant to his development. In 1934, Euler moved his family from Munich to a farm in Eichbichl am Rinssee. His later years included travels to Italy, Yugoslavia, France, and Spain, until his death in 1970.
Euler’s work evolved from impressionistic subject dissolution toward a cultivated expressive handwriting. His paintings are characterized by a certain rhythm and decisiveness in form, often appearing as if written onto the canvas with a vigorous gesture. He was a skilled draftsman, and in his later years, he frequently utilized a black brushstroke over a more glazing paint application. His technique involved applying oil paint alla prima onto a primed canvas, resulting in surfaces that varied from thick impasto to matte, glazing layers. His subject matter often drew from the immediate surroundings of his farm, including walled cottage gardens and still lifes placed within landscapes, which challenged traditional perceptions of scale and proportion.