艾德里安·路德维格里希特作品

他的平静生活的兴趣中心的圆内他的艺术。作为一个画家里,旨在彻底混合图元素的景观,可以从下面的例子:“收获队伍在平原”(1833)和三人在莱比锡博物馆:“渡船Schreckenstein”(1836)和“春天新娘游行”(1847),在德累斯顿画廊;Riesengebirge“视图”(1839),在国家美术馆,柏林。他最著名的门徒之一赫尔曼Lungkwitz.

在他240年的蚀刻在萨克森约140的观点,别人的萨尔斯堡,罗马,在坎帕尼亚大区。他的个性是最完全drawingsvers透露在他3000年或更多。特殊的魅力是他的插图的牧师韦克菲尔德(1841)Musaus“Volksmarchen(1842)和许多其他童话故事,歌德的专辑(1855),以及席勒的Glocke(1857),和那些周期性出版物揭示最杰出的艺术家的无穷无尽的幻想,比如Beschauliches和Erbauliches(1851);Kinderleben(1852);皮草Haus(1858 - 1861);Der祝赫特(1860);Unser taglich Brot(1866);《图片报》和Vignetten(1874)。

The interest of his uneventful life centres within the circle of his art. As a painter Richter aimed at a thorough blending of the figure element with the landscape and may be judged by the following examples: "Harvest Procession in the Campagna" (1833) and three others in the Leipzig Museum: "Ferry at the Schreckenstein" (1836) and "Bridal Procession in Springtime" (1847), in the Dresden Gallery; "View of the Riesengebirge" (1839), in the National Gallery, Berlin. One of his most notable protégés was Hermann Lungkwitz.

Among his 240 etchings are about 140 views in Saxony, others of Salzburg, Rome, and the Campagna. His individuality is most completely revealed in his 3000 or more drawingsvers. Of special charm are his illustrations for The Vicar of Wakefield(1841), for Musäus' Volksmärchen (1842) and for numerous other fairy tales, for the Goethe Album (1855), and for Schiller'sGlocke (1857), and those cyclical publications which reveal the most brilliant side of the artist's inexhaustible fancy, such as Beschauliches und Erbauliches (1851); Kinderleben (1852); Fürs Haus (1858–1861); Der gute Hirt (1860); Unser täglich Brot(1866); Bilder und Vignetten (1874).