Fairies by the Brook
Fairies by the Brook is an oil on canvas created by Maximilian Pirner in 1895. The work measures 99 cm in height and 61 cm in width, presenting a vertical composition that emphasizes the depth of the wooded setting.
요약
Maximilian Pirner의 가장 잘 알려진 작품은 프라하에 위치한 National Gallery Prague 소장품인 Fairies by the Brook (1895)입니다. 다음 항목은 Funeral of a Fairy (1888) 및 Self-Portrait (1890)입니다. Maximilian Pirner의 작품 목록에는 총 11점이 기록되어 있습니다. 아래의 11개 항목은 가장 잘 알려진 작품들로, 날짜, 소장 박물관, 작품 설명과 함께 순위별로 나열되어 있습니다.
Fairies by the Brook is an oil on canvas created by Maximilian Pirner in 1895. The work measures 99 cm in height and 61 cm in width, presenting a vertical composition that emphasizes the depth of the wooded setting.
Maximilian Pirner produced the work titled Somnambulant in 1878. The artist, who was born in Sušice, Czech Republic, developed his technical approach through formal training at the Academy of Fine Arts in Prague and the Academy of Fine Arts in Vienna. His career spanned several decades until his death in Prague in 1924.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 1개의 미술관
| 소장 미술관 | 도시 | Maximilian Pirner의 작품 | 이 목록의 작품들 |
|---|---|---|---|
| 프라하 | 7 | Fairies by the Brook, Self-Portrait, Fragment of a Painting from the Triptych Life, Love, Hatred and Death |
주요 작품을 확인하려면 연대를 선택하세요.
Maximilian Pirner produced the work titled Somnambulant in 1878. The artist, who was born in Sušice, Czech Republic, developed his technical approach through formal training at the Academy of Fine Arts in Prague and the Academy of Fine Arts in Vienna. His career spanned several decades until his death in Prague in 1924.
Fairies by the Brook is an oil on canvas created by Maximilian Pirner in 1895. The work measures 99 cm in height and 61 cm in width, presenting a vertical composition that emphasizes the depth of the wooded setting.
Fairies by the Brook (1895), National Gallery Prague, 프라하. 다음 작품은 Funeral of a Fairy (1888)와(과) Self-Portrait (1890)입니다.
41세: Maximilian Pirner은(는) 1854년에 태어났으며, Fairies by the Brook의 제작 연도는 1895년입니다.
Fairies by the Brook, Funeral of a Fairy, Self-Portrait, Fragment of a Painting from the Triptych Life, Love, Hatred and Death, Death, Černá Káča, Diogenes, Somnambulant, Flow 및 Hekate. 위 목록은 각 작품의 날짜와 소장 박물관을 기록하고 있습니다.
Maximilian Pirner의 작품 11점이 카탈로그에 기록되어 있으며, 제작 시기는 1878에서 1903 사이입니다.
주로 National Gallery Prague (프라하)에 소장되어 있습니다. 위의 박물관 목록에서 전체 분포를 확인하실 수 있습니다.
1890s 기간: 이 페이지에 나열된 총 11점의 작품 중 Fairies by the Brook을(를) 포함하여 4점이 해당 기간의 작품입니다.
여기에 나열된 작품 중 가장 오래된 작품은 Somnambulant (1878)이며, 가장 최근 작품은 Flow (1903)입니다.
Fairies by the Brook, Self-Portrait 및 Fragment of a Painting from the Triptych Life, Love, Hatred and Death은(는) National Gallery Prague, 프라하 컬렉션의 이 페이지에 있는 7점의 작품 중 하나입니다.
Maximilian Pirner (Czech: Maxmilián Pirner; February 13, 1853 – April 2, 1924) was a Czech painter who emerged from the Bohemian landscape to become a prominent figure in Viennese Symbolism and the Vienna Secession. His artistic vision—characterized by haunting beauty intertwined with unsettling themes—continues to fascinate scholars and collectors alike.
Born in Sušice, Bohemia (now Šüttenhofen), Pirner’s early life was marked by a fascination for classical mythology and an inclination towards melancholic contemplation. He pursued formal artistic training diligently, enrolling at the Academy of Fine Arts, Prague, followed by studies at the Academy of Fine Arts, Vienna, where he honed his skills under Josef Matyáš Trenkwald.
Pirner's distinctive style—often termed “Vienna Symbolism”—is instantly recognizable for its evocative use of color and form. He excelled in depicting scenes from Greek mythology, particularly those imbued with erotic undertones juxtaposed against the inevitability of death. His paintings frequently feature female figures rendered with sensual grace yet shadowed by an aura of sorrow and vulnerability.
Pirner’s legacy extends beyond his individual artworks. He served as a teacher at the Academy of Fine Arts, Prague, nurturing generations of aspiring artists and shaping the artistic landscape of Bohemia. His unwavering commitment to exploring the darker facets of human experience cemented his place among the foremost Symbolist painters of his era.
Pirner’s work continues to resonate with audiences today, prompting contemplation on themes of mortality, desire, and the sublime beauty found within decay. He remains a testament to the power of art to grapple with existential questions and capture the elusive essence of human emotion—a true heir to the traditions of Romanticism and Symbolism.