Portrait of Esther Kern (1912) je slika po kojoj je Hermann Daur najpoznatiji; nalazi se u muzeju Augustiner Museum, Frajburg. Naš katalog sadrži 2 dela umetnika Hermann Daur. Evo 2 najpoznatijih, sa godinom nastanka, muzejom i pričom o svakom platnu.
Rangirano prema našem koeficijentu popularnosti, koji kombinuje pretrage, posete i porudžbine za svako delo. Ažurirano новембар 2026. Svaku sliku sa ove stranice možete naručiti kao ručno oslikano ulje na platnu od lana ili kao umetnički print, izrađen u dimenzijama koje sami odaberete.
1 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Hermann Daur | Slike iz ovog spiska |
|---|---|---|---|
| Frajburg | 2 | Portrait of Esther Kern, Portrait of Bianca Kern-Hunziker |
Sva platna Hermann Daur datirana na ovoj stranici pripadaju godini 1912: evo ih, poređanih prema slavi.
Portrait of Esther Kern (1912)
Hermann Daur, rođen/a 1870, imao/la je 42 godina: Portrait of Esther Kern datira iz 1912.
U našem katalogu se nalazi 2 dela umetnika Hermann Daur.
Većinom u Augustiner Museum (Frajburg); gornja lista navodi svaki muzej i njegova platna.
U 1912, koji obuhvata 2 od 2 dela na ovoj stranici, među njima je i Portrait of Esther Kern.
Muzej Augustiner Museum, Frajburg čuva 2 dela sa ove stranice, među kojima su i Portrait of Esther Kern i Portrait of Bianca Kern-Hunziker.
Da. Svaku sliku sa ove stranice možete naručiti sa njene posebne stranice kao ručno oslikano ulje na platnu ili kao umetnički print, u veličini koju odaberete.
The year 1870 marks the beginning of a life that would eventually find its end in Ötlingen in 1925. Born in Stetten, Albert Hermann Daur operated within a specific German tradition, capturing the essence of his subjects and the stillness of the landscape. His brushwork does not shout; it observes. In the quietude of his compositions, one finds a focus on the tangible reality of the era, from the intimate details of a human face to the structural simplicity of a mill nestled in a valley.
His work often centers on the interplay between light and form. In his 1912 oil on canvas, Vorfrühling, Mühle im Kandertal, the scene captures a moment of seasonal transition. The mill sits within the landscape, a fixed point in a changing environment. There is a deliberate weight to his application of oil, a method that prioritizes the physical presence of the subject over mere decoration.
Daur’s output reveals a commitment to specific, grounded subjects. He moved between the psychological depth of portraiture and the structural clarity of landscape painting. His technical approach is defined by several key elements:
The 1912 Portrait of Bianca Kern-Hunziker serves as a primary example of his ability to hold a gaze. This work, held in the Augustinermuseum in Freiburg, demonstrates his capacity to translate a person into a permanent visual record. He does not rely on artifice, but on the directness of the likeness.
By the time of his death in 1925, Daur had established a body of work that remains tied to the specificities of his time and place. His paintings are not abstractions; they are records of a world in transition. The physical remnants of his practice, such as the inscriptions found on the reverse of frames, provide a direct link to his hand. He remains a figure of the German landscape and portrait tradition, a painter who sought to pin down the fleeting light of a spring morning or the steady gaze of a sitter.