Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 42 værker af Hortense Haudebourt-Lescot i vores katalog
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I galleriets øjne er Hortense Haudebourt-Lescots mest berømte maleri Self-Portrait (1825), hvis original hænger på Louvre i Paris. Two Elegant Women in a Pastry Shop (1801) og Portrait of a Woman Sketching en plein-air (1814) fuldender trioen, som ethvert øje genkender. Ud af de 42 værker af Hortense Haudebourt-Lescot i vores katalog præsenterer galleriet herunder de 41 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
Hortense Haudebourt Lescot's 1825 “Self-Portrait” is not merely a likeness; it’s an intimate revelation, a carefully constructed tableau of introspection and quiet strength. Painted during a pivotal period in her career – a time when she was establishing herself as a significant figure within the French art scene – this oil on canvas offers a rare glimpse into the mind of an artist grappling with her own identity and artistic…
Two Elegant Women in a Pastry Shop is an oil painting by Hortense Haudebourt Lescot. The canvas captures a quiet moment of indulgence, centered on two figures amidst the shadows of a shop. This work dates to about 1801. It emerged from the hand of an artist born in Paris, France, in 1784. The daughter of a perfumer, Jean-Baptiste Viel, Hortense Haudebourt Lescot brought a keen sense of observation to…
This work, titled Portrait of a Woman Sketching en plein-air, was painted by Hortense Haudebourt Lescot. It dates to 1814, a period during which the artist was establishing her presence within the French art scene. The portrait captures a quiet moment of creative focus, presenting a subject engaged in the act of sketching amidst a natural setting.
The air in the courtyard feels heavy with the scent of sun-warmed stone and the rustle of silk. Under the shadow of a classical arch, a group of figures gathers, their bodies caught in a moment of suspended animation. The light falls from the left, slicing through the dimness to strike the curve of a shoulder or the fold of a crimson skirt. It is a scene of quiet tension,…
The oil painting depicts a large-scale scene set within the interior of St. Peter's Basilica in Rome. The composition utilizes a deep linear perspective, drawing the eye through a vast architectural space toward a central religious action. In the background, a statue of St. Peter serves as the focal point, where figures gather to perform a ritual of reverence. The architecture is defined by massive marble columns and soaring vertical…
The Portrait of architect Pierre Adrien Pâris is a formal study of character rendered by Hortense Haudebourt Lescot. Painted about 1809, the work captures the French architect Pierre Adrien Pâris in a moment of quiet, academic stillness. The subject sits with a dignified presence, his gaze directed toward the viewer's left while meeting the observer's eye. It is a portrait of a man defined by his profession and his era.
The scene unfolds within a dim, rustic interior where three figures gather around a wooden table. On the left, a woman in colorful period attire leans toward a seated man. Her skirt is a deep teal, contrasting with the warm, earthy tones of the room. To the right, a man wearing a red waistcoat and a white neckerchief leans over the table, his finger pointing toward a document. The lighting…
In this large-scale oil painting, titled Diane de Poitiers Requests from Francis I the Grace of Her Father, Hortense Haudebourt Lescot captures a significant moment of courtly interaction. Created about 1819, the work presents figures dressed in the intricate attire of the 16th century. The scene focuses on a formal request or a gesture of grace, a subject that touches upon themes of power, supplication, and courtly romance.
is a genre portrait by Hortense Haudebourt Lescot. Created about 1820, the work reflects the artist's focus on the intimate details of human character and domestic life. The composition is signed Haudebourt Lescot in the lower left corner.
Lise Aubin de Fougerais is a formal portrait of a young girl executed by Hortense Haudebourt Lescot. Created in 1817, the work captures the subject in a moment of quietude. The painting is currently held within the collections of the Louvre Museum.
A Man Sentenced to Death, Preached by a Capuchin When Leaving for his Execution1819
12
Firsts Steps1818 · Musée des Beaux-Arts de Libourne
13
The Miller, His Son, and the Donkey1819 · Musée Fabre
14
Self-Portrait of the Artist and Her Husband on Their Wedding Trip1821
15
The Fortune Teller1815 · Musée Fabre
16
Profile of a man1816 · Musée des Beaux-Arts de Bordeaux
17
The Little Grape Thief1827
18
Portrait of Hortense Ballu1831
19
Gil Blas at Corcuello's1826
20
Italian family scene1828 · Musée Fabre
21
The Miller, His Son, and the Donkey1828 · Musée Fabre
22
The Miller, His Son, and the Donkey1827 · Musée Jean de La Fontaine
23
Portrait of Gioachino Rossini1828
24
Peasant in the Roman Campaign1825 · Musée Thomas Henry
25
Young mother breastfeeding her child1825 · Musée Antoine Vivenel
26
Portrait of Daniel-François-Esprit Auber1831
27
Young Woman Seated in the Shade of a Tree1830 · National Museum of Women in the Arts
28
Portrait of Ours-Joseph-Augustin de Besenval1832 · Nationalmuseum
29
Claude, Count of Choiseul, Marshal of France1835 · Opera House
30
The Siege of Thionville, 23 June 15581837 · Opera House
31
A Young Italian Woman Sheltering from the Sun Under Her Tambourine1840
32
Rose Gourreau de Chanzeaux1840
33
Self-portrait with a palette
34
Composer Daniel-francois-esprit Auber
35
Deux Merveilleuses
36
Duc De Lorges Et De RandanOpera House
37
Nude Model In The Artist's Studio
38
Atelier À Paris
39
Deux Merveilleuses
40
Posthumous Portrait Of Marie-fortunée D'estePalais Bourbon
41
Deux MerveilleusesMusée des Augustins
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 Hortense Haudebourt-Lescot | Malerier fra denne liste |
|---|---|---|---|
 Musée Fabre |
Montpellier | 4 | The Miller, His Son, and the Donkey, The Fortune Teller, Italian family scene |
 Opera House |
Versailles | 3 | Claude, Count of Choiseul, Marshal of France, The Siege of Thionville, 23 June 1558, Duc De Lorges Et De Randan |
 Nationalmuseum |
Stockholm | 2 | Portrait of a Woman Sketching en plein-air, Portrait of Ours-Joseph-Augustin de Besenval |
 Louvre |
Paris | 1 | Self-Portrait |
 Carnavalet Museum |
Paris | 1 | Two Elegant Women in a Pastry Shop |
 Musée Des Beaux |
Tours | 1 | Le Jeu de la main chaude |
 Musée des Beaux-Arts et d'Archéologie |
Besançon | 1 | Portrait of architect Pierre Adrien Pâris |
 Musée des Beaux-Arts de Libourne |
Libourne | 1 | Firsts Steps |
Vælg et årti for at se det originale værk, der definerer det.
Two Elegant Women in a Pastry Shop is an oil painting by Hortense Haudebourt Lescot. The canvas captures a quiet moment of indulgence, centered on two figures amidst the shadows of a shop. This work dates to about 1801. It emerged from the hand of an artist born in Paris, France, in 1784. The daughter of a perfumer, Jean-Baptiste Viel, Hortense Haudebourt Lescot brought a keen sense of observation to…
This work, titled Portrait of a Woman Sketching en plein-air, was painted by Hortense Haudebourt Lescot. It dates to 1814, a period during which the artist was establishing her presence within the French art scene. The portrait captures a quiet moment of creative focus, presenting a subject engaged in the act of sketching amidst a natural setting.
Hortense Haudebourt Lescot's 1825 “Self-Portrait” is not merely a likeness; it’s an intimate revelation, a carefully constructed tableau of introspection and quiet strength. Painted during a pivotal period in her career – a time when she was establishing herself as a significant figure within the French art scene – this oil on canvas offers a rare glimpse into the mind of an artist grappling with her own identity and artistic…
The Portrait of Hortense Ballu is an oil on canvas painting executed by the French artist Hortense Haudebourt Lescot. Created in 1831, this work depicts the subject, Hortense Ballu, who would later become known as Madame Alphonse Jacob-Desmalter. The portrait captures the sitter in a three-quarter length composition, positioned slightly off-center against a dark, moody background.
A young woman reclines diagonally across a lush, natural landscape in this 1840 oil painting. She is positioned in a medium shot at eye level, creating an intimate proximity to the viewer. Her body rests against a backdrop of textured tree bark and a forest floor composed of dappled light and shadow. She holds a tambourine above her head, using the object as a makeshift parasol to shield herself from…
Self-Portrait (1825), Louvre, Paris. Derefter følger Two Elegant Women in a Pastry Shop (1801) og Portrait of a Woman Sketching en plein-air (1814).
41 år gammel: Self-Portrait er fra 1825, og Hortense Haudebourt-Lescot blev født i 1784.
Self-Portrait, Two Elegant Women in a Pastry Shop, Portrait of a Woman Sketching en plein-air, Le Jeu de la main chaude, Kissing the Feet of the Statue of St. Peter in St. Peter's, Rome, Portrait of architect Pierre Adrien Pâris, The Settlement with the Host, Diane de Poitiers Requests from Francis I the Grace of Her Father, The Good Daughter og Lise Aubin de Fougerais. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 42 værker af Hortense Haudebourt-Lescot, dateret fra 1801 til 1840.
Primært i Musée Fabre (Montpellier), Opera House (Versailles) og Nationalmuseum (Stockholm). Museumslisten ovenfor viser dem alle.
I 1820s: 12 af de 41 værker på denne side blev skabt dengang, herunder Self-Portrait.
På denne side er det tidligste Two Elegant Women in a Pastry Shop (1801) og det seneste A Young Italian Woman Sheltering from the Sun Under Her Tambourine (1840).
Woman (17), Man (14) og Tree (6), fordelt på de 41 værker på denne side.
Oil On Canvas, for 24 af de 41 værker på denne side.
Romanticism, baseret på originalerne på denne side.
The Miller, His Son, and the Donkey, The Fortune Teller og Italian family scene: Musée Fabre, Montpellier har 4 af værkerne på denne side.
Historien om Hortense Haudebourt-Lescot er en fortælling om dyb observation og modet til at finde skønhed i det oversete. Født som Antoinette Cécile Hortense Viel i Paris i 1784, var hendes rejse fra parfumesælgers datter til en fejret skikkelse i den franske romantik præget af en ekstraordinær dedikation til menneskelivets nuancer. Hendes tidlige år blev formet af et tidligt talent, der fangede den anerkendte historiemaler Guillaume Guillon-Lethière's opmærksomhed. Under hans vejledning lærte hun ikke blot teknikkerne bag olie på lærred; hun arvede en passion for det dramatiske samspil mellem lys og skygge, en teknik der senere skulle blive hendes varemærke. Dette formative bånd var mere end blot akademisk; det var en port til den store verden, der førte hende til Den Evige Stad, da Lethière blev udnævnt til direktør for den franske akademi i Rom.
Det var i de solmættede landskaber og de livlige gader i Italien, mellem 1808 og 1816, at Haudebourt-Lescot for alvor opdagede sin kunstneriske sjæl. Mens mange af hendes samtidige søgte storheden i mytologiske epos eller den stive formalitet i aristokratiske portrætter, følte hun sig draget mod det rytmiske liv i landlivet. Hun blev en kronikør af det italienske bondesamfund, der indfangede de indviklede teksturer i deres dragter, varmen i deres hjemlige ritualer og den stille værdighed i deres daglige slid. Denne periode med fordybelse gjorde det muligt for hende at udvikle en stil, der blandede klassisk stringens med en spirende realisme, hvilket transformerede simple genrebilleder til dybsindige studier af menneskelig karakter.
Da hun vendte tilbage til Paris, begyndte Haudebourt-Lescot at sætte sit præg på den prestigefyldte Salon med værker, der vakte opsigt for deres psykologiske dybde og tekniske brillans. Hendes evne til at anvende chiaroscuro—den dramatiske kontrast mellem lys og mørke—tjente til at oplyse ikke blot de fysiske træk hos hendes motiver, men selve deres essens. I hendes berømte selvportrætter, som det fra 1825, præsenterer hun et gådefuldt blik, der inviterer beskueren ind i en lydløs dialog og afslører en kunstner, der var lige så meget en visuel filosof, som hun var en maler af form.
Hendes værk er karakteriseret ved flere definerende elementer:
Ud over hendes individuelle lærreder strakte Haudebourt-Lescots indflydelse sig ind i selve det parisiske kunstmiljø. Hendes hjem blev en livlig salon, et samlingspunkt for det intellektuelle og kunstneriske elite i det 19. århundrede. Som lærer videregav hun sine strenge krav til observation til en ny generation af kvindelige kunstnere, herunder Herminie Déhérain og Marie-Ernestine Serret, hvilket sikrede, at hendes arv af præcision og empati ville bestå.
Den historiske betydning af Hortense Haudebourt-Lescot ligger i hendes rolle som pioner. På en tid, hvor grænserne for kvinder i de skønne kunster ofte var strengt definerede, navigerede hun i kunstverdenens kompleksiteter med ynde og særpræg. Hendes anerkendelse fra hertuginden af Berry, som udnævnte hende til sin personlige maler, står som et vidnesbyrd om hendes status i de højeste lag af det franske samfund. Men på trods af denne nærhed til magten forblev hendes hjerte knyttet til det autentiske, det rustikke og det virkelige.
I dag befinder hendes værker sig på nogle af verdens mest respekterede institutioner, herunder Louvre-museet, hvor de tjener som vedvarende påmindelser om hendes evne til at finde det ekstraordinære i det ordinære. Hun forbliver en central skikkelse for enhver, der ønsker at forstå overgangen fra nyklassicisme til romantik, og hendes liv står som et testament til kunstnerens øjes kraft til at transformere livets flygtige øjeblikke til evige mesterværker.
