Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 55 works by Achille Devéria in our catalogue
In short
The Model's Pose (1838) is the Achille Devéria painting that draws the most eyes; the original belongs to the Musée de la Vie Romantique, Paris. After it, the eye goes to Madame Lavergne and her husband on the cart of the condemned? (1840) and The Glorification of Saint Clotilde (1851). Among the 55 works of Achille Devéria in our catalog, these 55 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
The Model's Pose is a genre painting by the French artist Achille Devéria. Created about 1838, this oil on canvas work captures a specific moment within an artist's studio. The scene focuses on the creative environment, presenting a cluttered interior that contains various objects, artworks, and sculptures. The composition centers on the interaction between an artist seated at an easel and a model posing nearby.
In this somber scene from 1840, we find ourselves amidst the heavy, suffocating atmosphere of a crowded urban procession. The composition is dense, pulling the viewer into a narrow street where the architecture seems to lean inward, heightening the sense of claustrophobia. At the heart of this chaos, a woman in a light-colored bodice reaches toward the sky, her gesture one of profound appeal or perhaps sheer desperation. Beside her,…
Achille Devéria painted The Glorification of Saint Clotilde about 1851. The work centers on the hagiographic narrative of Saint Clotilde, the queen and consort of the Merovingian king Clovis I. Through her upward-reaching gesture, the composition symbolizes divine favor and spiritual triumph within a celestial realm.
Example - (46374) is a colorful work by the French painter Achille Devéria. The composition centers on a man in military uniform engaging in sexual activity with another person. The figure in uniform is positioned on top of the second individual, who lies down within the scene.
A woman sits upon the ground, her blue dress spreading like a pool of ink against the earth. Her legs are parted, a posture of unstudied ease amidst a crowd of figures. Above her, a person stands, casting a shadow that anchors the composition. Nearby, a book lies discarded on the floor, its pages silent and still. The scene is a collection of human moments, a social gathering caught in…
Example - (23316) emerges as a painting by the French artist Achille Devéria. This work captures a quiet, social gathering where the air seems thick with the scent of old paper and the soft clink of glassware. Within the scene, four figures—two men and two women—find themselves suspended in a moment of shared leisure. The men occupy sturdy chairs while the women rest upon couches, creating a relaxed geometry of…
Example - (56456) is an artwork by Achille Devéria. The artist, born in Paris, France, in 1800, captured the fleeting movements of human life through his brush. His hand moved with precision until his death in 1857. This piece exists as a fragment of his long creative output, a moment held still within the frame.
portrait de laure deveria, soeur de l'Artiste
12
Eugène françois vidocq
13
Marc-antoine désaugiers
14
Henri III et sa cour, acte III, scène V. le duc et la duchesse de guise
15
Honoré de balzac - (1820)
16
Jane stirling - (1830)
17
Lady jane grey
18
Alexandre dumas
19
Heloise and abelard
20
Example - (34215)
21
Alexandre dumas - (1829)
22
La lecture la conversation
23
Mademoiselle rachel
24
Example - (345307)
25
costume de bal sous louis XIV
26
Example - (34206)
27
Le banquet oriental, en grisaille
28
Prelude, from journal des femmes - (1830 - (48))
29
Laure cinti-damoreau - (1820)
30
Midnight
31
The corset
32
Example - (36436)
33
Elégante, lithographie
34
Example - (34214)
35
dame anglaise au XIV siecle
36
Assomption de la vierge
37
Portrait of rachel
38
Three in the afternoon
39
Example - (32109)
40
Example - (45305)
41
Mère et enfants lavis
42
Dame de la cour de louis XI
43
Liriopé presenting narcissus to tirésias
44
Eleven o`clock in the evening
45
Example - (34213)
46
Example - (25321)
47
Woman performing cunnilingus on another woman
48
Example - (23410)
49
La réunion musicale
50
The entreaty
51
Scene galante renaissance dans un sous-bois
52
Jeune femme assoupie
53
Enfants jouant au badmongton
54
conversation au temps de louis XIII
55
Portrait of Jane Wilhelmine Stirling with a girlThe Fryderyk Chopin Institute
The four subjects that come back most often in these originals, each with its finest example.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Achille Devéria | Paintings from this list |
|---|---|---|---|
 Musée de la Vie Romantique |
Paris | 1 | The Model's Pose |
 Museum of the French Revolution |
Vizille | 1 | Madame Lavergne and her husband on the cart of the condemned? |
 The Fryderyk Chopin Institute |
Warsaw | 1 | Portrait of Jane Wilhelmine Stirling with a girl |
Pick a decade to see the original that defines it.
The Model's Pose is a genre painting by the French artist Achille Devéria. Created about 1838, this oil on canvas work captures a specific moment within an artist's studio. The scene focuses on the creative environment, presenting a cluttered interior that contains various objects, artworks, and sculptures. The composition centers on the interaction between an artist seated at an easel and a model posing nearby.
In this somber scene from 1840, we find ourselves amidst the heavy, suffocating atmosphere of a crowded urban procession. The composition is dense, pulling the viewer into a narrow street where the architecture seems to lean inward, heightening the sense of claustrophobia. At the heart of this chaos, a woman in a light-colored bodice reaches toward the sky, her gesture one of profound appeal or perhaps sheer desperation. Beside her,…
Achille Devéria painted The Glorification of Saint Clotilde about 1851. The work centers on the hagiographic narrative of Saint Clotilde, the queen and consort of the Merovingian king Clovis I. Through her upward-reaching gesture, the composition symbolizes divine favor and spiritual triumph within a celestial realm.
The Model's Pose (1838), Musée de la Vie Romantique, Paris. Madame Lavergne and her husband on the cart of the condemned? (1840) and The Glorification of Saint Clotilde (1851) come next.
38 years old: The Model's Pose dates from 1838, and Achille Devéria was born in 1800.
The Model's Pose, Madame Lavergne and her husband on the cart of the condemned?, The Glorification of Saint Clotilde, Example - (46374), Small and innocent games, Example - (23316), Example - (56456), Hugues-bernard maret, Aruj - (19th cent) and La déclaration d'amour. The ranking above gives each one's year and museum.
Our catalog holds 55 works by Achille Devéria, dated from 1838 to 1851.
Mostly in Musée de la Vie Romantique (Paris), Museum of the French Revolution (Vizille) and The Fryderyk Chopin Institute (Warsaw). The museum table above lists them all.
On this page, the earliest is The Model's Pose (1838) and the latest The Glorification of Saint Clotilde (1851).
Woman (4), People (3) and Man (2), across the 55 works on this page.
Oil On Canvas, for 2 of the 55 works on this page.
Romanticism, judging by the originals on this page.
Achille Jacques Jean Marie Devéria stands as a singular figure in French Romantic painting, distinguished not merely by his artistic skill but also by the profound psychological depth he imbued into his canvases. Born in Paris on February 6, 1800, amidst the burgeoning intellectual fervor of the era, Devéria’s life was marked by both personal tragedy and remarkable creative output—a duality that profoundly shaped his oeuvre. While biographical details remain somewhat sparse, scholarly research illuminates a man deeply attuned to the currents of artistic discourse and passionately committed to capturing fleeting moments of human emotion.
Devéria’s artistic journey began in the heart of Paris, where he received rigorous instruction from masters such as Louis Lafitte and Anne-Louis Girodet-Trioson. This foundational training provided him with a technical command that would later allow him to navigate various mediums with ease. By 1822, he had begun exhibiting at the prestigious Paris Salon, quickly establishing himself within the competitive landscape of French art. His early years were characterized by a growing mastery over line and light, as he sought to find his own voice amidst the established traditions of Neoclassicism and the rising tide of Romanticism.
As his career matured, Devéria became a celebrated portraitist, earning a reputation for his ability to capture the very essence of his subjects. He possessed a rare talent for looking beyond the surface, utilizing subtle nuances of expression to convey the inner psychological complexities of the era's most prominent figures. His professional life was inextricably linked to the vibrant literary circles of Paris; he secured commissions from and became a close observer of legendary writers such as Victor Hugo, Lamartine, Vigny, and Alexandre Dumas fils. These portraits were more than mere likenesses; they were visual embodiments of the Romantic spirit, capturing the intellectual and emotional weight of the men who shaped French literature.
Beyond the realm of oil painting, Devéria was a prolific lithographer and illustrator, a role that allowed him to reach a much broader audience. His work in printmaking—ranging from delicate watercolors to bold engravings—demonstrated his versatility and his commitment to the dissemination of art. He published numerous lithographic albums and notebooks, including notable illustrations for the works of Goethe, which helped cement his status as a key visual communicator of his generation. This ability to bridge the gap between high art and popular illustration allowed his aesthetic influence to permeate various layers of French society.
The hallmark of Devéria’s style lies in his sophisticated use of sfumato, a technique he adapted to create hazy, atmospheric effects that prioritized mood over rigid detail. This soft-focus approach lent an ethereal, dreamlike quality to his intimate scenes and portraits, inviting the viewer into a space of quiet observation and emotional resonance. Whether working in the opulent grisaille of Le Banquet Oriental or the delicate lines of his portraiture, Devéria maintained a focus on the ephemeral beauty of the moment.
His contributions extended even to the decorative arts, as seen in his designs for stained glass, such as his 1844 cartoon Généalogie d’Abraham. Toward the end of his life, his deep connection to the art world led him to serve as the curator of the Cabinet des Estampes in Paris, a position that reflected his profound respect for the history of printmaking and graphic arts. When he passed away in Paris in 1857, he left behind a legacy defined by:
