Portrait of Auguste de Creuse

The 8 Most Famous Auguste de Creuse Paintings, a Gallery Selection

Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 8 works by Auguste de Creuse in our catalogue

In short

Of all the originals Auguste de Creuse left, the most famous is Portrait of Susanne de Baudéan (1625-1700) (1837), in the collection of the Château de Versailles, Versailles. Close behind it come Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini (1839) and Portrait de Louis IX, roi de France. Our catalog holds 8 works by Auguste de Creuse; the gallery has kept the 8 the world admires most, each shown with its date, its museum and its story.

1806 – 1839, Montrond-le-Château Most works: Château de Versailles

Auguste de Creuse's top 10 paintings: the gallery's choice

The museums that keep Auguste de Creuse's originals

The museum that holds the most of the paintings on this page.

Museum City Works by Auguste de Creuse Paintings from this list
Château de Versailles, VersaillesChâteau de Versailles Versailles 4 Portrait of Susanne de Baudéan (1625-1700), Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini, EUGENE ADELAIDE LOUISE D'ORLEANS, MADAME ADELAIDE (1777 1847)

Auguste de Creuse year by year: the originals that define each

From 1837 to 1839, just 3 years, come all the dated Auguste de Creuse works in this selection: here is each year at its finest.

Works per year

Pick a year to see its originals.

Collectors' questions about Auguste de Creuse's paintings

Which work is Auguste de Creuse most famous for?Reveal the answer

Portrait of Susanne de Baudéan (1625-1700) (1837), Château de Versailles, Versailles. Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini (1839) and Portrait de Louis IX, roi de France come next.

What age was Auguste de Creuse when Portrait of Susanne de Baudéan (1625-1700) was made?Reveal the answer

31 years old: Portrait of Susanne de Baudéan (1625-1700) dates from 1837, and Auguste de Creuse was born in 1806.

How many paintings did Auguste de Creuse leave?Reveal the answer

Our catalog holds 8 works by Auguste de Creuse, dated from 1837 to 1839.

In which museums do Auguste de Creuse's masterpieces hang?Reveal the answer

Mostly in Château de Versailles (Versailles). The museum table above lists them all.

What are the first and the last famous originals of Auguste de Creuse?Reveal the answer

On this page, the earliest is Portrait of Susanne de Baudéan (1625-1700) (1837) and the latest Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini (1839).

Which Auguste de Creuse works hang at the Château de Versailles?Reveal the answer

Portrait of Susanne de Baudéan (1625-1700), Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini and EUGENE ADELAIDE LOUISE D'ORLEANS, MADAME ADELAIDE (1777 1847): the Château de Versailles, Versailles holds 4 of the works on this page.

Auguste de Creuse: life and work

The Luminous Legacy of Auguste de Creuse

In the grand, sweeping tapestry of nineteenth-century French painting, certain names shine with an enduring brilliance, while others flicker like a candle in a drafty corridor, leaving behind only a hauntingly beautiful afterglow. Auguste de Creuse, born Jean-Pierre Decreuse, belongs to that poignant second category. A master of the portrait, his life was a brief but intense burst of artistic vitality that spanned from his birth in Montrond-le-Château in 1806 to his untimely passing in Paris in 1839. Though his career was tragically truncated at the age of thirty-three, the works he left behind serve as elegant windows into the soul of a bygone era, capturing the quiet dignity of the aristocracy and the storied grandeur of French history.

The trajectory of Creuse’s talent was irrevocably shaped by his time at the École Supérieure des Beaux-Arts in Paris. It was here that he came under the tutelage of the formidable Antoine-Jean Gros, a mentorship that would become the cornerstone of his aesthetic identity. From Gros, Creuse inherited more than just technical proficiency; he absorbed a profound reverence for historical narrative and an almost surgical precision in detail. This lineage is evident in his ability to weave together the monumental scale of history with the intimate nuances of individual character, creating canvases that feel both epic and deeply personal.

A Mastery of Light and Lineage

To observe a portrait by Creuse is to enter a world defined by a restrained yet evocative palette. Eschewing the garish or the overly dramatic, he favored a sophisticated arrangement of muted browns, warm ochres, and soft creams. This deliberate choice of color allowed him to master the art of sfumato and subtle tonal gradations, employing thin, delicate layers of paint to achieve a luminous quality that seems to emanate from within the subjects themselves. His brushwork, remarkably fine and controlled, captured the tactile reality of silk, lace, and velvet, lending his aristocratic sitters an air of timeless grace.

His technical prowess was not merely reserved for contemporary faces; Creuse possessed a unique ability to breathe life into the ghosts of France's past. His repertoire included:

  • Royal Portraits: He achieved significant recognition for his depictions of the House of Orléans, including works featuring the young Louis-Philippe, which found prestigious homes in the Châteaux of Versailles and Trianon.
  • Historical Figures: Creuse demonstrated a remarkable capacity for historical reconstruction, painting legendary figures such as Jean Bart and the Duchesse de Belleval.
  • The Monarchs of Old: His involvement in the series commissioned by Louis Philippe I for the Musée historique de Versailles allowed him to portray medieval and Renaissance icons, including Louis IX (Saint Louis) and Catherine de Médicis.

An Enduring Impression

The historical significance of Auguste de Creuse lies in his role as a bridge between the classical traditions of the early nineteenth century and the burgeoning romanticism of his era. While he operated within the established frameworks of his mentors, his sensitivity to psychological depth pushed his portraiture beyond mere likeness. He sought to reveal the character beneath the velvet, the humanity beneath the crown. Though his death in 1839 silenced his brush, the echoes of his talent remain preserved in the halls of Versailles and the collections of art historians worldwide. He remains a vital figure for anyone seeking to understand the elegance, the precision, and the profound emotional resonance of French portraiture during one of its most transformative centuries.