Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 110 værker af Albert Besnard i vores katalog
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I galleriets øjne er Albert Besnards mest berømte maleri Morphine Addicts (1887), hvis original hænger på Metropolitan Museum of Art i New York. Woman's Head (1890) og Pony (1892) fuldender trioen, som ethvert øje genkender. Ud af de 110 værker af Albert Besnard i vores katalog præsenterer galleriet herunder de 100 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
Two women sit within the sterile confines of a laboratory, their forms caught in a pale, diffused light. The scene is quiet, heavy with a stillness that feels almost medicinal. One woman gazes directly at the viewer, her eyes carrying a weight of resignation, while her companion looks downward, lost in a private, hollowed thought. Between them, a table holds the cold geometry of scientific glassware, its transparent surfaces catching…
A single female figure occupies the frame, her head tilted in a moment of quiet repose. The composition is an intimate crop, pulling the viewer into the private space of her shoulders and face. Soft, diffused light enters from the upper left, tracing the curve of her neck and the delicate planes of her skin. This illumination creates a gentle depth, casting shadows that define her form without the need…
A single horse stands against a rustic wooden fence. The animal lifts its head, peering over the timber slats with a quiet, searching posture. Beside it, a second form remains partially obscured, a shadow of movement caught in the grain of the wood. The scene is rendered in the stark, precise language of a black and white etching. Every line of the fence and every contour of the horse's neck…
In this 1890 etching, we find a moment of profound stillness within the Besnard household. The composition focuses on four figures, captured in a state of quiet intimacy that feels almost private, as if we have stumbled upon a fleeting glance in a private sitting room. Madame Besnard is positioned in the lower left foreground, her profile offering a sense of calm stability. Behind her, the forms of their daughter,…
This oil on panel portrait depicts André-Charles Coppier in a three-quarter profile. The subject is an older man seated and facing the viewer directly. He wears a heavy, dark coat that absorbs much of the light. His hair and mustache are rendered with thick, visible brushstrokes that suggest texture and volume. The lighting originates from the upper left, casting shadows across the right side of his face and defining the…
The scene captured by this evocative work, "The Visitor," invites the viewer into an intimate moment suspended just outside the frame of time. It is not merely a depiction of people gathered at a table; it is a study in anticipation, a quiet drama unfolding under the soft wash of diffused light. The composition centers around a palpable tension—the arrival or observation of the 'Visitor' amidst a group already settled…
In this 1877 oil on canvas, a man is seated in a three-quarter length pose, turned slightly toward his right. He does not meet the viewer's gaze but looks away, his eyes directed toward an unseen point beyond the frame. The subject wears a dark, heavy suit, likely navy or black, which absorbs much of the light. His facial features are defined by soft contours and a well-groomed beard. A…
The air in the room thickens with the sudden, sharp tension of a life being extinguished. A man, Timophanes, is caught in the middle of a fatal struggle, his body reacting to the sudden intrusion of violence. A raised sword cuts through the space, its edge directed toward the central figure who is being struck down. The composition pulls the eye along diagonal lines formed by flailing limbs and the…
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding is a work by the French painter Paul Albert Besnard. Created about 1880, this piece functions as a preparatory study for a larger commission intended for the Mairie of the 19th Arrondissement of the Ville de Paris.
In Paul Albert Besnard's Portrait of Francis Magnard, the viewer meets the subject through a steady, eye-level perspective that establishes an immediate, quiet connection. The composition centers on a medium shot of the man, who sits slightly off-center within a somber interior. To the left, a dark architectural element, resembling a column, anchors the space, while to the right, a dimly lit doorway or hallway recedes into the shadows. This…
Sketch for the Mairie du 4ème: The Return of the Fields1884 · Petit Palais
12
Sketch for the Mairie du 4ème: July 14, 18801884 · Petit Palais
13
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor1880 · Petit Palais
14
Sketch for the wedding hall of the town hall of the 19th arrondissement of the Ville de Paris: The Triumph of the Republic (Ceiling)1880 · Petit Palais
15
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Winter1880 · Petit Palais
16
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn1880 · Petit Palais
17
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer1880 · Petit Palais
18
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement: Spring1880 · Petit Palais
19
Madeleine Lerolle and Her Daughter Yvonne1879 · Cleveland Museum of Art
20
The First Morning (Albert and Charlotte Dubray Besnard and their Son, Robert)1881 · Los Angeles County Museum of Art
21
Sketch for the Wedding Hall of the Mairie du 1er: Winter, or The Evening of Life1886 · Petit Palais
22
Sketch for the Wedding Hall of the Mairie du 1er: Summer, or the Midlife1886 · Petit Palais
23
Sketch for the Wedding Hall of the Mairie du 1er: Spring or the Morning of Life1886 · Petit Palais
24
Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Electricity1890 · Petit Palais
25
Sketch for the Hôtel de Ville de Paris: Truth Leading the Sciences in Her Wake Spreads Her Light upon Men (Ceiling)1890 · Petit Palais
26
Portrait of Madame Besnard, née Charlotte Dubray (1854-1931)1890 · Carnavalet Museum
27
Nude Holding Her Leg1886
28
In the Embers1887
29
Portrait of Marcel Bing (2 fragments before restoration)1895 · Petit Palais
30
The First Performance of Hernani, 18301905 · Musée Victor Hugo
31
The Siesta1905 · Cleveland Museum of Art
32
La Biarrote1901
33
Musician (musicienne)1900
34
Portrait of Camille Barrère at Palazzo Farnese1906 · Petit Palais
35
On the Bridge of Trichinopoly (India)1911 · Petit Palais
36
Four Panels: The Decoration of the Dome of the Vestibule d'Honneur of the Petit Palais1906 · Petit Palais
37
Thought1908 · Petit Palais
38
Amorous Conversation1913
39
Cardinal Mercier1916
40
Horse Market in Algiers1925
41
Portrait de Jean-Louis Vaudoyer (1883-1963)1932 · Carnavalet Museum
42
Le vestibule d’entrée du Petit Palais décorée par Albert Besnard -Petit Palais
43
Horses1894 · Metropolitan Museum of Art
44
Sadness (tristesse)1877
45
Sketch for the Mairie du 4ème: The Ball in the City or The Social Party1884 · Petit Palais
46
Sketch for the Mairie du 4ème: The Ball in the Countryside or The Popular Festival1884 · Petit Palais
47
Sketch for the Mairie du 4ème: The Apple Picking1884 · Petit Palais
48
Sketch for the Mairie du 4ème: July 14, 17901884 · Petit Palais
49
A Martyr1883
50
Iza Sleeping1885
51
Neuilly Fair1885
52
La Muse Accoudée1884
53
Madame Besnard1884
54
Dying Woman (la Mourante)1885
55
Model Asleep on the Floor1885
56
Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Meteorology1890 · Petit Palais
57
Horses bitten by flies.1892 · The National Museum in Poznań
58
Eve1886
59
Intimacy1889
60
La Femme1886
61
Bathing at Talloires1888
62
Robert Besnard and His Donkey1888
63
Apotheosis1886
64
Prostitution1886
65
Eve Before the Apple Tree1892
66
Nude Woman by a Looking Glass1889
67
Melancholy (mélancolie)1888
68
Self-portrait1893
69
Coquette1900
70
Love Consecrated1900
71
In the Crowd1900
72
Discreet (discrète)1900
73
Confidences1900
74
Indifferent1900
75
Madeleine Lemaire1900
76
Intimate Fantasy1901
77
Danger Passed1900
78
Cast of a Net (le Coup De Filet)1900
79
Zebu Team in India, Study1910 · Musée des Beaux-Arts de Pau
80
The Mystic, Sketch of the Overall Composition1908 · Petit Palais
81
Un Soir
82
Edmond Pigalle1908
83
Garnet Joseph WolseleyNational Portrait Gallery
84
Bather with Child and Swan by the Sea
85
Margaret Wilhelmina Ames
86
Le femme aux cheveux roux
87
Portrait de Madame Georges Rodenbach
88
Georges Clemenceau1917
89
Getting up1913
90
Going to Bed1913
91
Leda Sleeping1913
92
Gabriele D'annunzio1917
93
Leda Bathing (léda Au Bain)1913
94
Auguste Rodin1922
95
Birth Announcement for Anne-élisabeth Besnard1922
96
Back of a Woman, Study1924 · Musée des Beaux-Arts de Rouen
97
Le Biarotte1929
98
Carmen Standing in the Nude
99
Peacock Feathers
100
Matinée d'été
#9 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding
#13 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor
#16 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn
#17 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
#2 Woman's Head
#11 Sketch for the Mairie du 4ème: The Return of the Fields
#13 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor
#15 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Winter
#12 Sketch for the Mairie du 4ème: July 14, 1880
#14 Sketch for the wedding hall of the town hall of the 19th arrondissement of the Ville de Paris: The Triumph of the Republic (Ceiling)
#16 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn
#17 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Albert Besnard | Malerier fra denne liste |
|---|---|---|---|
 Petit Palais |
Paris | 29 | Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding, Portrait of Francis Magnard, Sketch for the Mairie du 4ème: The Return of the Fields |
 Metropolitan Museum of Art |
New York | 4 | Morphine Addicts, Family, The Visitor |
 Carnavalet Museum |
Paris | 3 | Portrait of André Wormser (1851-1926), Pianist and Composer, Portrait of Madame Besnard, née Charlotte Dubray (1854-1931), Portrait de Jean-Louis Vaudoyer (1883-1963) |
 Cleveland Museum of Art |
Cleveland | 2 | Madeleine Lerolle and Her Daughter Yvonne, The Siesta |
 Art Institute of Chicago |
Chicago | 1 | Woman's Head |
 Musée d'Orsay |
Paris | 1 | Portrait of André-Charles Coppier (1866-1948) |
 Los Angeles County Museum of Art |
Los Angeles | 1 | The First Morning (Albert and Charlotte Dubray Besnard and their Son, Robert) |
 Musée Victor Hugo |
Paris | 1 | The First Performance of Hernani, 1830 |
Vælg et årti for at se det originale værk, der definerer det.
In this 1877 oil on canvas, a man is seated in a three-quarter length pose, turned slightly toward his right. He does not meet the viewer's gaze but looks away, his eyes directed toward an unseen point beyond the frame. The subject wears a dark, heavy suit, likely navy or black, which absorbs much of the light. His facial features are defined by soft contours and a well-groomed beard. A…
Two women sit within the sterile confines of a laboratory, their forms caught in a pale, diffused light. The scene is quiet, heavy with a stillness that feels almost medicinal. One woman gazes directly at the viewer, her eyes carrying a weight of resignation, while her companion looks downward, lost in a private, hollowed thought. Between them, a table holds the cold geometry of scientific glassware, its transparent surfaces catching…
A single female figure occupies the frame, her head tilted in a moment of quiet repose. The composition is an intimate crop, pulling the viewer into the private space of her shoulders and face. Soft, diffused light enters from the upper left, tracing the curve of her neck and the delicate planes of her skin. This illumination creates a gentle depth, casting shadows that define her form without the need…
This oil on panel portrait depicts André-Charles Coppier in a three-quarter profile. The subject is an older man seated and facing the viewer directly. He wears a heavy, dark coat that absorbs much of the light. His hair and mustache are rendered with thick, visible brushstrokes that suggest texture and volume. The lighting originates from the upper left, casting shadows across the right side of his face and defining the…
On the Bridge of Trichinopoly (India) is an oil painting by the French painter and printmaker Paul Albert Besnard. Created about 1911, this work emerged from a period when the artist was exploring the effects of light and atmosphere following a visit to India. The piece captures a specific moment of communal movement, rendered with a focus on the rhythmic patterns of daily life.
The scene unfolds within the bustling atmosphere of a horse market in Algiers. In this moment, the air feels thick with the energy of commerce and the movement of animals. Paul Albert Besnard captures a specific slice of life from about 1925, freezing a period of intense activity where horses of various sizes gather amidst the trade of the marketplace. The work, titled Horse Market in Algiers, presents a world…
In this 1932 oil portrait, we find ourselves in the private, scholarly sanctuary of Jean-Louis Vaudoyer. The subject is positioned in a medium close-up, slightly off-center, which lends a natural, unforced quality to the composition. He is a man of letters, captured in a moment of quiet contemplation amidst the receding planes of a library. The atmosphere is one of profound stillness, where the weight of knowledge is felt through…
Morphine Addicts (1887), Metropolitan Museum of Art, New York. Derefter følger Woman's Head (1890) og Pony (1892).
38 år gammel: Morphine Addicts er fra 1887, og Albert Besnard blev født i 1849.
Morphine Addicts, Woman's Head, Pony, Family, Portrait of André-Charles Coppier (1866-1948), The Visitor, Portrait of André Wormser (1851-1926), Pianist and Composer, The Death of Timophanes, Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding og Portrait of Francis Magnard. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 110 værker af Albert Besnard, dateret fra 1874 til 1932.
Primært i Petit Palais (Paris), Metropolitan Museum of Art (New York) og Carnavalet Museum (Paris). Museumslisten ovenfor viser dem alle.
I 1880s: 37 af de 100 værker på denne side blev skabt dengang, herunder Morphine Addicts.
På denne side er det tidligste The Death of Timophanes (1874) og det seneste Portrait de Jean-Louis Vaudoyer (1883-1963) (1932).
Woman (15), Figures (11) og Man (10), fordelt på de 100 værker på denne side.
Etching, for 11 af de 100 værker på denne side.
Impressionism, baseret på originalerne på denne side.
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding, Portrait of Francis Magnard og Sketch for the Mairie du 4ème: The Return of the Fields: Petit Palais, Paris har 27 af værkerne på denne side.
Paul Albert Besnard (1849-1934) står som en enestående skikkelse i den franske kunsts væv, en maler der navigerede gennem det nittende og tyvende århundredes skiftende tidevand med en unik og uklassificerbar ynde. Han blev født i Paris, og hans kunstneriske rejse begyndte inden for de stringente rammer af École des Beaux-Arts, hvor han studerede under Jean Bremond. Hans tidlige udvikling blev dybt præget af Alexandre Cabanels omhyggelige realisme, en indflydelse der gav Besnard et disciplineret akademisk fundament. Men under denne klassiske træning bankede hjertet af en modernisator – en kunstner, der i sidste ende ville bevæge sig ud over traditionens stive grænser for at omfavne lysets og atmosfærende flygtige skønhed.
Som hans karriere modnedes, begyndte Besnard at bygge bro mellem den strukturerede verden af akademisk maleri og impressionismens levende, sanselige udforskninger. Selvom han ikke helt opgav formen til fordel for ren abstraktion, blev han en mester i farver og benyttede en palet, der føltes både lysende og dybt følelsesladet. Hans arbejde er kendetegnet ved en urokkelig fascination af, hvordan lys interagerer med overflader, hvad enten det er den sarte hud i et portræt eller de vidstrakte arkitektoniske flader i hans største bestillingsværker. Denne evne til at forene det monumentale med det intime gjorde det muligt for ham at transcendere sin tids mærkater og skabe en stil, der føltes både tidløs og slående moderne.
Besnards sande geni var måske mest synligt i hans evne til at oversætte moderne sanselighed til en storslået, dekorativ skala. Han malede ikke blot billeder; han transformerede rum. Hans ambitiøse freskoer, som pryder nogle af Frankrigs mest prestigefyldte institutioner, står som et vidnesbyrd om hans vision om kunsten som en offentlig, fordybende oplevelse. Disse værker kan findes på steder som:
I disse massive projekter undgik Besnard den overdrevent dramatiske eller teatralske æstetik, som mange af hans samtidige foretrak. I stedet benyttede han en mere subtil, atmosfærisk tilgang, der lod lyset guide beskuerens øje og sikrede, at selv de mest massive kompositioner bevarede en følelse af poetisk intimitet og åndelig dybde.
Udover freskoernes vidstrakte udsigter var Besnard en flittig skaber af langt mere personlige værker. Han besad en ekstraordinær evne til at indfange sit motivs psykologiske essens gennem olie, akvarel, pastel og radering. Hans portrætter fejres ikke blot for deres tekniske præcision, men for deres dybe emotionelle resonans. I hans skildring af Madame Georges Rodenbach finder man en dristig udforskning af skønhed, der udfordrer konventionelle normer og fremviser hans evne til at gengive tekstur og karakter med samme glød.
Hans alsidighed som grafikker og tegner tillod ham at eksperimentere med samspillet mellem skygge og lys i en langt mere delikat skala. Uanset om han indfangede den kongelige tilstedeværelse af Kongen og Dronningen af Belgien eller landskabets stilhed, forbliver Besnards værk forankret i en indflydelse, der minder om Thomas Gainsborough—en vis elegance og rytmisk flow, der ophøjer motivet. Ultimativt ligger Paul Albert Besnards betydning i netop denne dualitet: han var en kunstner, der kunne dominere Frankrigs største sale, mens han samtidig indfangede lysets mest flygtige og delikate hvisken.
