Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 89 værker af Jean Jouvenet i vores katalog
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I galleriets øjne er Jean Jouvenets mest berømte maleri LA MORT DE SAINT FRANCOIS. Claude-François Poullart des Places (1679-1709) (1700) og Head of an old man. (1687) fuldender trioen, som ethvert øje genkender. Ud af de 89 værker af Jean Jouvenet i vores katalog præsenterer galleriet herunder de 88 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
The scene captures the final moments of Saint Francis, lying upon a simple wooden bed within a crowded monastic cell. Surrounding the saint, a group of monks gather in various states of grief and prayer, their presence filling the interior space with a sense of solemnity. From above, an angel descends, extending a crown of leaves toward the dying man. This gesture signals a divine reward and the transition from…
This three-quarter length portrait presents a young man positioned with a slight turn toward the viewer. He gazes directly forward with a composed expression. The subject is rendered against a dark, indeterminate background that lacks specific architectural or landscape details. His pale complexion and the white of his collar provide the primary points of light within the composition. A dark garment covers his shoulders and upper torso, its folds defined…
The oil on canvas painting titled Head of an old man. is a portrait created by the French artist Jean Jouvenet. This work, which dates to 1687, depicts an elderly man. The subject is presented in a close-up bust-length view, focusing on the physical characteristics of the man's face and head.
The oil on canvas painting titled Venus in the Vulkan forge is a work by the artist Jean Jouvenet. This piece depicts a mythological scene involving the goddess Venus and the god Vulcan. The composition centers on the figure of Venus, who is accompanied by a small Cupid within a subterranean setting. The artist, Jean Jouvenet, was born in 1644 in Rouen, France, and lived until 1717.
In the grand, sweeping tapestry of the French Baroque, few works resonate with as much visceral intensity as Jean-Baptiste Jouvenet’s Descent from the Cross. Completed in 1697, this monumental canvas serves as a profound meditation on grief, faith, and the raw physicality of human suffering. The scene captures the harrowing moment when the body of Jesus Christ is lowered from the cross, a pivotal instant of transition between death and…
The gaze of the sitter meets us directly in PORTRAIT DE CHANOINE, a work by the French artist Jean Jouvenet. This portrait captures a man known as Chanoine, whose presence fills the frame with a quiet, steady dignity. He sits as a church official, a man of status and religious duty, presented to the viewer through a lens of solemnity. The subject's identity is tied closely to his vocation, which…
The scene known as Zéphyr et Flore unfolds through the brush of Jean Jouvenet, a painter who captures the very essence of a mythological encounter. This work emerges from the late 17th century, specifically dating to about 1688. It breathes with the energy of a moment caught in mid-motion, where the wind and the bloom meet in a lush, natural setting.
A golden chalice catches the light, suspended between the mortal and the celestial. Saint John reaches upward, his arms open to receive the vessel offered by a seated angel. The scene is a fragment of a larger movement, a vertical slice of a heavenly encounter. Clouds, thick and billowing, form a soft foundation for the figures, while the background dissolves into a hazy, indeterminate sky. The light descends from an…
The air in the room feels heavy with the weight of a profound teaching. Light spills across the scene, catching the folds of heavy drapery and the soft contours of skin, while the shadows retreat into the corners of the stone architecture. Jesus Christ sits at the center of this domestic sanctuary, his presence commanding the space through a quiet, steady authority. He is engaged in conversation, his gestures guiding…
In this 1685 oil painting, we encounter a celestial presence emerging from a swirling expanse of clouds. The figure of God the Father is rendered as an elderly man, his presence defined by flowing white hair and a beard that merges into the ethereal atmosphere. He is positioned in a three-quarter view, arms outstretched in a gesture that suggests both expansive movement and a reaching toward the heavens. The composition…
Portrait of Father Louis Bourdaloue1680 · Bavarian State Painting Collections
12
Winter1699 · Musée-promenade de Marly-le-Roi
13
Jesus Healing the Sick by the Shore of the Lake of Gennesaret1689
14
The Triumph of Justice1695 · Petit Palais
15
Louis XIV touchant les malades des écrouelles1690
16
The Sacrifice of Iphigenia1688 · Statens Museum for Kunst
17
Jean Jouvenet1700 · Opera House
18
The Last Supper1700
19
Self-Portrait of Jean-Baptiste Jouvenet Reduction of the painting kept in the Musée de Rouen1701 · Carnavalet Museum
20
The Deposition1709 · Toledo Museum of Art
21
Cena1700 · Nationalmuseet i Warszawa
22
The Miraculous Draught1706
23
The Ascension of Christ1711
24
Jesus Driving the Merchants from the Temple1714
25
Adoration of the Magi1700 · Detroit Institute of Arts
26
Dr Raymond Finot1704 · Louvre
27
LA RESURRECTION DE LAZARELouvre
28
Portrait of an Unknown Man1700 · Hermitage Museum
29
The Education of the Virgin1700 · Galleria degli Uffizi
30
LA DESCENTE DE CROIXLouvre
31
L'EXTREME ONCTIONLouvre
32
The Martyrdom of Saint OvidMusée de Grenoble
33
The Presentation in the TempleBrest national naval museum
34
Christ healing the sickNationalmuseet i Warszawa
35
St thomas
36
Saint André
37
Saint Pierre
38
Saint Paul
39
Saint Jude
40
Saint Thomas
41
LA PENTECOTE
42
Saint Simon
43
Saint Jacques le majeur
44
Saint Philippe
45
APOLLON SUR SON CHAR SE PRESENTE A THETYSChâteau de Versailles
46
Saint Jacques le mineur
47
Saint Barthélémy
48
Latone et les paysans de Lycie
49
Portrait de l'artiste par lui mêmeNationalmuseum
50
Autoportrait
51
Apothéose de Saint Jean
52
Apothéose de Saint Luc
53
L'ANNONCIATION
54
Le Christ descendu de la Croix
55
Isaac bénissant Jacob
56
SAINT LOUIS SOIGNANT LES BLESSES APRES LA BATAILLE DE MANSOURAH.1250
57
Le départ de Phaéton
58
PORTRAIT D'UN MAGISTRAT
59
Saint Mathias (titre moderne) saint Mathieu (titre ancien)
60
JESUS AU JARDIN DES OLIVIERS
61
LA PRESENTATION AU TEMPLE
62
MARC ANTOINE FAISANT CONSUL ALBINUS
63
CYRUS HARANGUANT SES TROUPES
64
LE TRIOMPHE DE LA JUSTICE
65
LA DESCENTE DU SAINT ESPRIT SUR LES APOTRES
66
JESUS CHRIST CHEZ MARTHE ET MARIELouvre
67
LA MESSE DU CHANOINE DE LA PORTE OU LE MAITRE AUTEL DE NOTRE DAMELouvre
68
The Miraculous DraughtLouvre
69
Isaac blessing jacob
70
The Presentation in the Temple
71
The Descent from the Cross
72
The Death of St Francis
73
Apotheosis of st. nicholasPlantin-Moretus Museum
74
Christ in the House of Martha and Mary
75
Foundation of a Town in Germania by the Tectosages
76
The Mass of Canon Antoine de La Porte or The Altar of Notre Dame
77
LA VICTOIRE SOUTENUE PAR HERCULE ET ACCOMPAGNEE DE L'ABONDANCE, DE LA FELICITE ET DE LA PAIX
78
Head of a man looking to the left
79
Fondation d'une ville en Germanie par les Tectosages
80
Esther devant Assuérus Evanouissement d'Ester (ancien titre)
81
Madonna of the Magnificat
82
The Raising of LazarusLos Angeles County Museum of Art
83
The marriage of the virgin
84
Madame de Maintenon as Saint Cecilia and a Boy (possibly the Duc de Maine) as an Angel Blowing an Organ
85
LE MEDECIN RAYMOND FINOT DIT AUTREFOIS LE MEDECIN FAGONLouvre
86
LA PECHE MIRACULEUSELouvre
87
JESUS CHEZ SIMON LE PHARISIENMusée des Beaux-Arts de Lyon
88
The Raising of Lazarus1706 · Louvre
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Jean Jouvenet | Malerier fra denne liste |
|---|---|---|---|
 Louvre |
Paris | 11 | Descent from the Cross, Dr Raymond Finot, LA RESURRECTION DE LAZARE |
 Nationalmuseet i Warszawa |
Warszawa | 4 | Head of an old man., Venus in the Vulkan forge, Cena |
 Bavarian State Painting Collections |
München | 2 | Claude-François Poullart des Places (1679-1709), Portrait of Father Louis Bourdaloue |
 Opera House |
Versailles | 2 | Zéphyr et Flore, Jean Jouvenet |
 Musée des Beaux-Arts |
Reims | 1 | God the Father |
 Musée-promenade de Marly-le-Roi |
Marly-le-Roi | 1 | Winter |
 Petit Palais |
Paris | 1 | The Triumph of Justice |
 Statens Museum for Kunst |
København | 1 | The Sacrifice of Iphigenia |
Vælg et årti for at se det originale værk, der definerer det.
The air in the room feels heavy with the weight of a profound teaching. Light spills across the scene, catching the folds of heavy drapery and the soft contours of skin, while the shadows retreat into the corners of the stone architecture. Jesus Christ sits at the center of this domestic sanctuary, his presence commanding the space through a quiet, steady authority. He is engaged in conversation, his gestures guiding…
The oil on canvas painting titled Head of an old man. is a portrait created by the French artist Jean Jouvenet. This work, which dates to 1687, depicts an elderly man. The subject is presented in a close-up bust-length view, focusing on the physical characteristics of the man's face and head.
In the grand, sweeping tapestry of the French Baroque, few works resonate with as much visceral intensity as Jean-Baptiste Jouvenet’s Descent from the Cross. Completed in 1697, this monumental canvas serves as a profound meditation on grief, faith, and the raw physicality of human suffering. The scene captures the harrowing moment when the body of Jesus Christ is lowered from the cross, a pivotal instant of transition between death and…
This three-quarter length portrait presents a young man positioned with a slight turn toward the viewer. He gazes directly forward with a composed expression. The subject is rendered against a dark, indeterminate background that lacks specific architectural or landscape details. His pale complexion and the white of his collar provide the primary points of light within the composition. A dark garment covers his shoulders and upper torso, its folds defined…
The Ascension of Christ is a large-scale oil on canvas painting by Jean Jouvenet. Executed in 1711, the work measures 190.0 x 104.0cm. The composition is organized into two distinct vertical tiers that separate the celestial and earthly realms. In the upper portion, Christ ascends toward a source of white and golden light, his arms extended outward. He is positioned among billowing clouds and two angels, his form illuminated by…
LA MORT DE SAINT FRANCOIS. Derefter følger Claude-François Poullart des Places (1679-1709) (1700) og Head of an old man. (1687).
LA MORT DE SAINT FRANCOIS, Claude-François Poullart des Places (1679-1709), Head of an old man., Venus in the Vulkan forge, Descent from the Cross, PORTRAIT DE CHANOINE, Zéphyr et Flore, Saint Jean, Jesus Christ at the Home of Martha and Mary og God the Father. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 89 værker af Jean Jouvenet, dateret fra 1675 til 1714.
Primært i Louvre (Paris), Nationalmuseet i Warszawa (Warszawa) og Bavarian State Painting Collections (München). Museumslisten ovenfor viser dem alle.
I 1700s: 13 af de 88 værker på denne side blev skabt dengang, herunder Claude-François Poullart des Places (1679-1709).
På denne side er det tidligste Jesus Christ at the Home of Martha and Mary (1675) og det seneste Jesus Driving the Merchants from the Temple (1714).
Man (14), Saints (10) og Figures (7), fordelt på de 88 værker på denne side.
Oil On Canvas, for 29 af de 88 værker på denne side.
Baroque, baseret på originalerne på denne side.
Descent from the Cross, Dr Raymond Finot og LA RESURRECTION DE LAZARE: Louvre, Paris har 11 af værkerne på denne side.
I den storslåede, vidtstrakte gobelin af den franske barok skinner få tråde med så stor dramatisk intensitet og åndelig dybde som dem, der er vævet af Jean-Baptiste Jouvenet. Han blev født i 1644 i den historiske by Rouen, og Jouvenet var skæbnebestemt til et liv gennemvædet af sine forfædres pigmenter og filosofier. Han trådte frem fra en illustrer lys kunstnerisk slægt; hans far, Laurent Jouvenet, gav ham den indledende vejledning, mens hvisken om en forbindelse til den legendariske Nicolas Poussin gennem hans bedstefar, Noel Jouvenet, antyder en herkomst rodfæstet i selve fundamentet af den europæiske klassiske tradition. Denne tidlige fordybelse i kunstens sprog gjorde det muligt for ham at udvikle en følsomhed over for lys og form, som til sidst skulle fange de mest prestigefyldte hoffer i Frankrig.
Jouvenets opstigning i den parisiske kunstverden var intet mindre end meteorisk. Ved ankomsten til hovedstaden fangede hans prodigiøse talent blikket hos Charles Le Brun, titanen inden for fransk kongelig malerkunst. Under Le Bruns mentorskab befandt Jouvenet sig i hjertet af tidens mest betydningsfulde kunstneriske bestræbelser: udsmykningen af Salon de Mars i Versailles. Denne periode med intens samarbejde og eksponering for kongelig storhed fungerede som en smeltedigel for hans udviklende stil. I 1675 var han blevet optaget i Académie Royale de Peinture et de Sculpture, en bedrift, der markerede hans overgang fra en lovende elev til en mester i egen ret. Hans indflydelse i Akademiet voksede støt og førte ham til sidst til de prestigefyldte roller som professor og en af de fire evige rektorer, hvor han formede de æstetiske sanser hos den næste generation af franske malere.
Det, der virkelig adskiller Jouvenet fra hans samtidige, var hans evne til at forene barokkens monumentale skala med en dyb, rørende naturalisme. Mens mange kunstnere i denne æra lænede sig tungt op ad det teatralske og det kunstige, søgte Jouvenet en dybere sandhed i sine motiver. Hans religiøse kompositioner besidder, selvom de er storslåede i omfang, en intim emotionel resonans, der trækker beskueren ind i den hellige fortælling. Uanset om han skildrede den ømme hjemlighed fundet i Jesus Christ chez Marthe et Marie eller den dynamiske, hvirvlende energi i La Peche Miraculeuse, benyttede han en rig palet og mesterlig chiaroscuro til at indblæse liv i det guddommelige.
Hans tekniske kunnen var særligt tydelig i hans håndtering af bevægelse og lys. I værker som Saint Philippe kan man observere, hvordan han anvender levende farver og en følelse af rytmisk bevægelse til at formidle Kristi majestæt. Denne evne til at balancere det episke med det menneskelige gjorde det muligt for ham at påtage sig massive freskopgaver i ikoniske lokationer som Louvre og Tuilerierne, hvor hans penselstrøg kunne dominere enorme arkitektoniske rum uden at miste deres essentielle intimitet. Hans portrætter, såsom det evokative Dr Raymond Finot, demonstrerer yderligere denne alsidighed ved at fremvise et skarpt øje for psykologisk dybde og en realistisk gengivelse af karakter, der forbliver slående moderne.
Den historiske betydning af Jean-Baptiste Jouvenet ligger i hans rolle som en bro mellem det stive klassicisme i det tidlige 17. århundrede og de mere følelsesladede, flydende stilarter, der fulgte efter. Han var en central figur i Le Brun-skolen, men han indpodede denne tradition med en unik vitalitet, der forhindrede den i at blive stillestående. Hans karriere, som strakte sig over højdepunktet af Louis XIV's regeringstid, spejlede tidens skift mod et mere sofistikeret og følelsesmæssigt komplekst visuelt sprog.
Når vi i dag reflekterer over hans samlede værk, forbliver flere nøgleelementer af hans arv uomtvistelige:
Selvom han gik bort i Paris i 1717, kan ekkoerne af Jouvenets pensel stadig mærkes i de store europæiske museers sale. Han forbliver en mester af "det guddommelige øjeblik", en kunstner, der kunne indfange krydsfeltet mellem det jordiske og det evige med uovertruffen ynde.
