Portrait Study of Bernhard Koehler by August Macke, 1913
Opera d’arte autentica
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Restaurata nel nostro laboratorio di Londra dall’opera originale del 1913 e stampata in qualità museale. Descrizione completa
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Scegli due opere idonee e ricevi il 20% di sconto su entrambe. Scegline tre e quella al prezzo più basso è in omaggio, con un risparmio massimo del 33%.
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L’opera d’arte che stampiamo è fedelmente restaurata dalla fonte originale - solitamente un museo, una biblioteca o una collezione privata. Non sostituiamo mai, ridisegniamo o inventiamo l’opera dell’artista usando l’IA generativa.
Restaurata dall’opera originale del 1913 e stampata in qualità museale. Descrizione completa
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August Macke’s Bildnisstudie Bernhard Koehler (Portrait Study of Bernhard Koehler), painted in 1913, presents its elderly sitter at close quarters, his head...
Continua a leggereAugust Macke’s Bildnisstudie Bernhard Koehler (Portrait Study of Bernhard Koehler), painted in 1913, presents its elderly sitter at close quarters, his head lowered and his long white beard sharply illuminated against a field of restless colour. Koehler’s grave, inward-looking expression is held in tension with the surrounding blues, yellows, muted greens and flashes of orange. Rather than describing a conventional interior, Macke allows these hues to move freely around the figure, making colour an active part of the portrait’s structure.
The sitter was the industrialist and collector Bernhard Koehler, a significant patron of modern German art and a supporter of Macke and artists associated with Der Blaue Reiter. The portrait therefore records more than a passing likeness: it brings together an avant-garde painter and one of the figures who helped sustain the artistic culture in which he worked. By 1913, Macke had developed an approach shaped by German Expressionism and the wider European rethinking of colour and form. Strict naturalism gives way here to simplification, strong tonal contrasts and a decorative intensity that remains attentive to individual character.
A closer look
Koehler occupies most of the vertical composition, yet he sits slightly away from its centre. The resulting imbalance is subtle but effective: the bowed head and downward gaze establish a quiet psychological focus, while the colour behind him seems to circulate with considerably greater energy. Deep blue gathers along the left side; towards the upper right, a glowing area of yellow opens around the sitter’s head and shoulder. Between them, softer greens and orange-brown passages produce a shifting, layered space rather than a fixed architectural setting.
The face and beard contain some of the painting’s most concentrated handling. Short, pale strokes give the beard its soft, slightly unruly texture, while warmer notes model the brow, cheek and nose without smoothing away the evidence of the brush. Dark clothing anchors the lower half of the portrait, relieved by pale orange accents around the collar and by the light falling across the upper garment. Koehler’s hands gather near a lightly painted, angular form at the lower centre—perhaps a book or folded paper—though Macke leaves it suggestive rather than precisely defined.
Small colour exchanges bind figure and background together. Yellow flecks punctuate the blue at the left, while warm reflections pass from the surrounding orange into the sitter’s clothing and hands. These repetitions prevent the figure from appearing cut out against the background. At the same time, the white beard, dark coat and illuminated upper-right field create a firm sequence of light and shadow, directing attention first to the head and then down through the folded posture.
Context and significance
Macke was among the leading artists connected with Der Blaue Reiter, the Munich-based circle that sought new expressive possibilities in colour and form during the years before the First World War. His work often favoured lucid silhouettes and harmonious colour relationships, but this portrait has a more agitated surface than many of his serene scenes of promenades, gardens and shop windows. Its brushwork remains visibly active, and the background approaches abstraction without losing its function as a setting for the sitter.
Painted only a year before Macke’s death in 1914, Bildnisstudie Bernhard Koehler belongs to the artist’s remarkably compressed mature period. Its enduring force lies in the meeting of opposites: an introspective pose surrounded by animated colour, an individual likeness built from broad simplifications, and the quiet authority of age rendered through an emphatically modern pictorial language.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
August Macke’s Bildnisstudie Bernhard Koehler (Portrait Study of Bernhard Koehler), painted in 1913, presents its elderly sitter at close quarters, his head lowered and his long white beard sharply illuminated against a field of restless colour. Koehler’s grave, inward-looking expression is held in tension with the surrounding blues, yellows, muted greens and flashes of orange. Rather than describing a conventional interior, Macke allows these hues to move freely around the figure, making colour an active part of the portrait’s structure.
The sitter was the industrialist and collector Bernhard Koehler, a significant patron of modern German art and a supporter of Macke and artists associated with Der Blaue Reiter. The portrait therefore records more than a passing likeness: it brings together an avant-garde painter and one of the figures who helped sustain the artistic culture in which he worked. By 1913, Macke had developed an approach shaped by German Expressionism and the wider European rethinking of colour and form. Strict naturalism gives way here to simplification, strong tonal contrasts and a decorative intensity that remains attentive to individual character.
A closer look
Koehler occupies most of the vertical composition, yet he sits slightly away from its centre. The resulting imbalance is subtle but effective: the bowed head and downward gaze establish a quiet psychological focus, while the colour behind him seems to circulate with considerably greater energy. Deep blue gathers along the left side; towards the upper right, a glowing area of yellow opens around the sitter’s head and shoulder. Between them, softer greens and orange-brown passages produce a shifting, layered space rather than a fixed architectural setting.
The face and beard contain some of the painting’s most concentrated handling. Short, pale strokes give the beard its soft, slightly unruly texture, while warmer notes model the brow, cheek and nose without smoothing away the evidence of the brush. Dark clothing anchors the lower half of the portrait, relieved by pale orange accents around the collar and by the light falling across the upper garment. Koehler’s hands gather near a lightly painted, angular form at the lower centre—perhaps a book or folded paper—though Macke leaves it suggestive rather than precisely defined.
Small colour exchanges bind figure and background together. Yellow flecks punctuate the blue at the left, while warm reflections pass from the surrounding orange into the sitter’s clothing and hands. These repetitions prevent the figure from appearing cut out against the background. At the same time, the white beard, dark coat and illuminated upper-right field create a firm sequence of light and shadow, directing attention first to the head and then down through the folded posture.
Context and significance
Macke was among the leading artists connected with Der Blaue Reiter, the Munich-based circle that sought new expressive possibilities in colour and form during the years before the First World War. His work often favoured lucid silhouettes and harmonious colour relationships, but this portrait has a more agitated surface than many of his serene scenes of promenades, gardens and shop windows. Its brushwork remains visibly active, and the background approaches abstraction without losing its function as a setting for the sitter.
Painted only a year before Macke’s death in 1914, Bildnisstudie Bernhard Koehler belongs to the artist’s remarkably compressed mature period. Its enduring force lies in the meeting of opposites: an introspective pose surrounded by animated colour, an individual likeness built from broad simplifications, and the quiet authority of age rendered through an emphatically modern pictorial language.
Choosing the right size and finish
Artwork can feel intimate at smaller sizes and dramatically more architectural at larger ones. Use the room preview, model image and size guide to see how the proportions and scale will work in your space.
If you need an exact size, specialist framing or help planning a larger display, ask our workshop for advice.
The model in the listing images is holding the 16x20in (40x50cm) version of this art print.
Where personalisation is available, you can add a short title or dedication, or one considered visual detail. See examples of personalised artwork.
Choose Original to retain the colour and character of the source artwork, or Aged for a warmer, more antique appearance. See examples of our Aged artwork.
Every piece is produced to archival standards using fade-resistant pigment inks on acid-free matte art paper. Choose an art print, framed art print or framed canvas using the finish options above.
Framed art prints use crystal-clear optical acrylic for excellent clarity, lower weight and safer delivery than glass. Each piece arrives professionally framed and ready to hang.
Selected artworks can be produced at statement sizes up to 3 metres (10ft). Custom sizing and specialist framing are also available. If the exact option you need is not listed, contact our workshop.
This artwork is also available as a float framed canvas, sometimes known as a shadow gap framed canvas or canvas floater. The work is printed on artist's cotton canvas and then stretched over a handmade box frame. We then "float" the canvas inside a wooden frame, which is available in a range of colours (black, dark brown, oak, antique gold and white). This is a wonderful way to present an art print without glazing in front. See some examples of float framed canvas art and explore the differences between my different finishes.
Molte delle nostre mappe e stampe d’arte vengono scelte come regali premurosi per case, uffici, studi e luoghi significativi.
Scegli un’opzione incorniciata per il regalo più semplice, pronto da appendere, oppure scegli una stampa non incorniciata se il destinatario preferisce selezionare la propria cornice.
Realizziamo gli ordini localmente in 23 paesi in tutto il mondo, così i regali possono spesso essere prodotti vicino al destinatario. Questo li aiuta ad arrivare più rapidamente, a viaggiare in maggiore sicurezza e a evitare sorprese legate a dazi doganali o di importazione.
- Possiamo consegnare direttamente al destinatario
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Se non sei sicuro di cosa scegliere, ti invitiamo a contattarci. Possiamo aiutarti a scegliere la mappa, il formato, la finitura o l’opzione di consegna più adatti.
Most orders are made locally and delivered in around 2–3 working days, depending on the product, size and destination.
We print and frame maps and artwork in 24 countries around the world, so your order is usually made close to you or your recipient. That means faster delivery, less time in transit, and no customs or import duty surprises.
Personalised and customised pieces usually take an extra 1–2 working days, because we prepare your design and send it to you for approval before printing.
Very large framed orders can take a little longer, as they need extra care in production and delivery.
Every order is carefully packaged: unframed prints are sent in a strong protective tube, while framed pieces are securely packed with protective materials around the frame.
If you need your order by a particular date, please contact us before ordering. We’ll check the best production route and delivery option for your location.
Express delivery is available at checkout for most countries. Next-day delivery is available in the UK, US, Singapore and the UAE.
Your order is covered by our 90-day returns policy and 10-year guarantee.
Our standard frame is a gallery-style black ash hardwood frame, with a simple, modern look. It is approximately 20mm (0.8in) wide. You can also view some lovely customer photos of framed maps and art.
We use super-clear acrylic glazing, also known as Perspex or Acrylite, instead of traditional glass. It is lighter, safer, and has lower reflectivity, giving the artwork a clearer, cleaner appearance.
Six standard frame colours are available at no extra cost: black, dark brown, dark grey, oak, white, and antique gold. Custom framing and mounting/matting is also available for customers looking for something more specific.
Most maps, art prints, and illustrations are also available as a framed canvas. We use matte cotton canvas, stretch it over a sustainably sourced wooden box frame, and then float the piece within a wooden outer frame. The finished result is beautifully presented, with no glazing between you and the artwork.
All frames are supplied ready to hang, with either string or brackets fitted to the back. Very large frames will include heavy-duty hanging plates and/or a mounting baton. If you have any questions, please get in touch.
We can also supply old maps and artwork on canvas, foam board, cotton rag, and other materials.
If you would prefer to frame your map or artwork yourself, please read our size guide before ordering.
Lavoriamo con interior designer, realtà del settore hospitality, professionisti del settore immobiliare, uffici e acquirenti aziendali per singoli pezzi e progetti coordinati di più ampia portata.
Quest'opera può essere adattata a una specifica parete, stanza o progetto e il nostro laboratorio può aiutare a coordinare dimensioni, materiale e incorniciatura prima della produzione.
- Dimensioni precise, extra-large e su misura
- Incorniciatura personalizzata, montaggio e materiali alternativi
- Pezzi coordinati per più stanze o sedi
- Personalizzazione dell'opera, per regolarne il colore e lo stile
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- Produzione locale per progetti in tutto il mondo
Ogni stampa artistica restaurata inizia dall’opera originale dell’artista—mai da una sostituzione generata dall’IA.
Il nostro studio di Londra lavora a partire da materiali di origine accuratamente selezionati da musei, biblioteche, archivi e collezioni private. Restauriamo i danni dovuti all’età, i colori sbiaditi e le imperfezioni di riproduzione, preservando al contempo la composizione, il tratto del pennello, il segno, la texture e il carattere d’epoca dell’artista.
Non utilizziamo l’IA generativa per ridisegnare, reinterpretare o inventare l’opera. Il restauro digitale viene impiegato solo per recuperare e riprodurre l’opera originale nel modo più fedele possibile.
Una volta restaurata, l’opera master viene preparata per il formato e la finitura da te scelti. Il tuo pezzo viene quindi stampato e, se selezionato, incorniciato vicino alla destinazione di consegna.
Le nostre stampe artistiche giclée utilizzano carta opaca archivistica senza acidi da 200 g/m² e inchiostri pigmentati resistenti allo sbiadimento, per una finitura ricca e di qualità museale. Le stampe artistiche incorniciate utilizzano acrilico ottico cristallino e arrivano pronte da appendere.
Sono disponibili anche tele incorniciate ed edizioni speciali su cotone-rag. Scopri di più sui nostri materiali e finiture.
Restauriamo e produciamo mappe e stampe d’arte dal 1984, e garantiamo personalmente ogni pezzo.
Ogni ordine è coperto dalla nostra garanzia di 10 anni e dalla garanzia di consegna senza danni. Se il vostro pezzo arriva danneggiato, lo sostituiremo o lo rifaremo gratuitamente. Se qualsiasi altro aspetto non fosse conforme, contattate il nostro team di laboratorio e provvederemo tempestivamente a risolvere il problema.
Per tutti i dettagli, consultate la nostra politica su resi e rimborsi.
