Aktualizováno říjen 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 7 děl umělce Victor Müller v našem katalogu
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Podle tohoto žebříčku je Nymph (1862) nejznámějším dílem autora Victor Müller; nachází se v muzeu Städel Museum v místě Frankfurt nad Mohanem. Následuje po něm Judgement of Paris (1850) a Portrait of Berta von Radowitz as a Young Girl (1863). Tento seznam vychází z 7 děl umělce Victor Müller v katalogu a obsahuje 7 nejznámějších z nich, přičemž u každého záznamu uvádí datum, muzeum, ve kterém se nachází, a popis.
The painting Nymph by Victor Müller emerged in 1862. It is a work of significant weight in the artist's career, often identified by the titles Waldnymphe or Sleeping Wood-Nymph. This specific canvas remains Müller's single most-exhibited painting, a central pillar of his creative output.
3 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzea | Město | Díla autora Victor Müller | Obrazy z tohoto seznamu |
|---|---|---|---|
 Städel Museum |
Frankfurt nad Mohanem | 5 | Nymph, Portrait of Berta von Radowitz as a Young Girl, Ophelia |
 Národní muzeum ve Varšavě |
Varšava | 1 | Judgement of Paris |
 Alte Nationalgalerie |
Berlín | 1 | Salome with the Head of John |
Vyberte dekádu, abyste zobrazili její hlavní obraz.
The painting Nymph by Victor Müller emerged in 1862. It is a work of significant weight in the artist's career, often identified by the titles Waldnymphe or Sleeping Wood-Nymph. This specific canvas remains Müller's single most-exhibited painting, a central pillar of his creative output.
Nymph (1862), Städel Museum, Frankfurt nad Mohanem. Následující položky jsou Judgement of Paris (1850) a Portrait of Berta von Radowitz as a Young Girl (1863).
33 let: Victor Müller se narodil/a v 1829 a dílo Nymph pochází z roku 1862.
Katalog obsahuje 7 děl umělce Victor Müller datovaných v období od 1850 do 1870.
Primárně v Städel Museum (Frankfurt nad Mohanem), Národní muzeum ve Varšavě (Varšava) a Alte Nationalgalerie (Berlín). Tabulka muzeí výše uvádí úplné rozdělení.
V období 1860s: 5 z 7 děl uvedených na této stránce pochází z tohoto období, včetně Nymph.
Nejdulší dílo uvedené zde pochází z Judgement of Paris (1850); nejnovější z Salome with the Head of John (1870).
Nymph, Portrait of Berta von Radowitz as a Young Girl a Ophelia patří mezi 5 děl na této stránce v kolekci Städel Museum, Frankfurt nad Mohanem.
Victor Müller lived a life that moved between the quiet streets of his birthplace and the bustling studios of Europe's great art capitals. Born in the Free City of Frankfurt, he began his training under Steinle at the local art school before seeking broader horizons in Antwerp. In 1849, he arrived in Paris, a city where he would remain for eleven years. This period was perhaps the most formative for his hands and eyes. He spent his days studying the methods of Thomas Couture, Eugène Delacroix, and Gustave Courbet. While many were drawn to the more traditional styles of the time, Müller found himself drawn to the technique of Courbet. He adopted a way of painting that reversed the approach used by Couture, a choice that would later define his reputation.
In 1858, he returned to Frankfurt, bringing with him the lessons of the French masters. His work began to attract attention, though it was not always easy for him. The public in Frankfurt was often more accustomed to the sentimental trends of the Düsseldorf school, making his realistic and color-focused approach difficult for some to grasp. Seeking a place where his departures from tradition might be better received, he moved to Munich in 1866. It was here that his work found a more receptive audience. During these later years, he married Ida Scholderer, the sister of Otto Scholderer, and settled into a life that would eventually lead to his death in Munich in 1871.
Müller’s paintings often felt like pieces of music, possessing a literary or poetic character that reached for the imagination. He had a way of using color that could be quite intense, sometimes reaching a level of vividness that bordered on the extravagant. His subjects frequently drew from deep wells of myth and literature. He found inspiration in the tragic tales of Shakespeare, painting scenes such as Hamlet with Horatio in the Churchyard and Ophelia by the brook. These were not merely illustrations but attempts to capture a specific mood through light and tone.
His repertoire included a variety of themes that ranged from the classical to the natural world:
Through his work, Müller introduced a new sense of tone to the Munich School. He moved away from purely sentimental depictions toward a more honest observation of nature and a truer way of treating historical characters. His influence helped guide a younger generation of artists toward a more substantial use of color and a deeper connection to the physical world.
