Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 110 teost Paul Albert Besnard meie kataloogis
Lühidalt
Galleriist vaadatuna on Paul Albert Besnard kõige kuulsam teos Morphine Addicts (1887), mille originaal ripub Metropolitan Museum of Art-is, New York. Woman's Head (1890) ja Pony (1892) täidavad kolmikut, mille iga silm tunnistab. Kunstnii Paul Albert Besnard 110 teose põhjal esitleb galeriis allpool 100 kõige kuulsumat, kus iga originaal on märgitud aastaga, muuseumiga ja kirjeldatud, mis teeb selle unikaalseks.
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
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Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor1880 · Petit Palais
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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
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Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Winter1880 · Petit Palais
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Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn1880 · Petit Palais
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Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer1880 · Petit Palais
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Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement: Spring1880 · Petit Palais
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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
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Sketch for the Wedding Hall of the Mairie du 1er: Winter, or The Evening of Life1886 · Petit Palais
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Sketch for the Wedding Hall of the Mairie du 1er: Summer, or the Midlife1886 · Petit Palais
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Sketch for the Wedding Hall of the Mairie du 1er: Spring or the Morning of Life1886 · Petit Palais
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Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Electricity1890 · Petit Palais
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Sketch for the Hôtel de Ville de Paris: Truth Leading the Sciences in Her Wake Spreads Her Light upon Men (Ceiling)1890 · Petit Palais
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Portrait of Madame Besnard, née Charlotte Dubray (1854-1931)1890 · Carnavalet Museum
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Nude Holding Her Leg1886
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In the Embers1887
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Portrait of Marcel Bing (2 fragments before restoration)1895 · Petit Palais
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The First Performance of Hernani, 18301905 · Musée Victor Hugo
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The Siesta1905 · Cleveland Museum of Art
32
La Biarrote1901
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Musician (musicienne)1900
34
Portrait of Camille Barrère at Palazzo Farnese1906 · Petit Palais
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On the Bridge of Trichinopoly (India)1911 · Petit Palais
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Four Panels: The Decoration of the Dome of the Vestibule d'Honneur of the Petit Palais1906 · Petit Palais
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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
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Le vestibule d’entrée du Petit Palais décorée par Albert Besnard -Petit Palais
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Horses1894 · Metropolitan Museum of Art
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Sadness (tristesse)1877
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Sketch for the Mairie du 4ème: The Ball in the City or The Social Party1884 · Petit Palais
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Sketch for the Mairie du 4ème: The Ball in the Countryside or The Popular Festival1884 · Petit Palais
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Sketch for the Mairie du 4ème: The Apple Picking1884 · Petit Palais
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Sketch for the Mairie du 4ème: July 14, 17901884 · Petit Palais
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A Martyr1883
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Iza Sleeping1885
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Neuilly Fair1885
52
La Muse Accoudée1884
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Madame Besnard1884
54
Dying Woman (la Mourante)1885
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Model Asleep on the Floor1885
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Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Meteorology1890 · Petit Palais
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Horses bitten by flies.1892 · The National Museum in Poznań
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Eve1886
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Intimacy1889
60
La Femme1886
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Bathing at Talloires1888
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Robert Besnard and His Donkey1888
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Apotheosis1886
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Prostitution1886
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Eve Before the Apple Tree1892
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Nude Woman by a Looking Glass1889
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Melancholy (mélancolie)1888
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Self-portrait1893
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Coquette1900
70
Love Consecrated1900
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In the Crowd1900
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Discreet (discrète)1900
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Confidences1900
74
Indifferent1900
75
Madeleine Lemaire1900
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Intimate Fantasy1901
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Danger Passed1900
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Cast of a Net (le Coup De Filet)1900
79
Zebu Team in India, Study1910 · Musée des Beaux-Arts de Pau
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The Mystic, Sketch of the Overall Composition1908 · Petit Palais
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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
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Auguste Rodin1922
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Birth Announcement for Anne-élisabeth Besnard1922
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Back of a Woman, Study1924 · Musée des Beaux-Arts de Rouen
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Le Biarotte1929
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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
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
#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
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Paul Albert Besnard teosid | Selle nimekirja maalid |
|---|---|---|---|
 Petit Palais |
Pariis | 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 |
Pariis | 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 |
Pariis | 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 |
Pariis | 1 | The First Performance of Hernani, 1830 |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
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. Järgnevad Woman's Head (1890) ja Pony (1892).
38 aastat vanus: teos Morphine Addicts on pärinev aastast 1887 ning Paul Albert Besnard sündis aastal 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 ja Portrait of Francis Magnard. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 110 teost kunstnikult Paul Albert Besnard, mis on pärinevad ajastust 1874 kuni 1932.
Peamiselt Petit Palais (Pariis), Metropolitan Museum of Art (New York) ja Carnavalet Museum (Pariis) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1880s: 37 100 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Morphine Addicts.
Sellel lehel on kõige vanem teos The Death of Timophanes (1874) ja kõige värskeim Portrait de Jean-Louis Vaudoyer (1883-1963) (1932).
Woman (15), Figures (11) ja Man (10), kogu selle lehekülje 100 teose kohta.
Etching, 11 teoseks 100 töödelt sellel lehel.
Impressionism, seda lähtudes selle lehe originaalteostest.
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding, Portrait of Francis Magnard ja Sketch for the Mairie du 4ème: The Return of the Fields: Petit Palais, Pariis säilitab 27 selle lehel olevat teost.
Paul Albert Besnard (1849–1934) seisab Prantsuse kunsti kummastavates mustrikates ainulaadse isikuna — maalidena, kes navigeeris 19. sajandi lõpu ja 20. sajandi alguse muutuvates lainedes unikaalse ja klassifitsematu elegantsusega. Pariisis sündinud kunstniku loominguline teekond algas École des Beaux-Arts rangetesse piiridesse, kus ta õppis Jean Bremondi juures. Tema varajast arengut mõjutas sügavalt Alexandre Cabaneli täpne realism, mis pakkus Besnardile distsiplineeritud akadeemilise aluse. Ometigi selle klassikalise koolituse all pulsas moderniseerija süda — kunstnik, kes lõpus astus välja traditsiooni rangete piiride eest, et omakatsuda valguse ja atmosfääri ülemikulist ilu.
Tema karjääri küpsusfaassis hakkas Besnard sillutama teid akadeemilise maali maailma struktureeritud olemuse ja Impressionismi vibratil, sensorilisel uurimistlusel. Kuigi ta ei loobunud puhtuse nimel vormist täielikult, sai ta värvi meistriks, kasutades paletti, mis tundus nii luminatsiooniline kui ka sügavalt emotiivsel. Tema tööd iseloomustab vankumatu fassinatsioon selle vastu, kuidas valgus pindudega interageerib, olgu selleks siis portreedi õhinuke nahk või tema suurimatel tellimustel laialgusad arhitektuurilised hõlamed. See võime ühendada monumentaalne ja intiimne võimaldas tal ületada oma ajastu sündmuste märkmeid, luues stiili, mis tundus nii ajatu kui ka hämmastavalt kaasaegne.
Besnardi tõeline genius oli kaugeimalt nähtav tema võimes tõltsida modernseid tundeid suuremõõliskiselt dekoratiivses kontekstis. Ta ei maalinud lihtsalt pilte; ta muutis ruumide olemust. Tema ambitsioosne freskod, mis kaunistavad mõningaid Prantsusmaa prestiižikim institutsioone, on tunnistus tema visioonist kunstist kui avalikust ja sisse tõmbavast kogemusest. Neid teoseid võib leida sellistes kohtades nagu:
Nendes massiivsetes projektides vältis Besnard paljude oma kaasaeglaste eelistatut liiga dramatiseeritud või teatraalset esteetikat. Selle asemel kasutas ta peenemat, atmosfäärilist lähenemist, mis võimaldas valgusel juhtida vaataja silma, tagades, et isegi kõige massiivsemad kompositsioonid säilitaksid poeetilise intiimsuse ja vaimse sügavuse.
Lisaks oma freskodega laia vaate مجال, oli Besnard palju isiklikumate teoste viljakas looja. Tal oli erakordne võime tabada oma teemade psühholoogilist olemust õli-, akvarell-, pastell- ja etsingutööde kaudu. Tema portreede kuulustatakse mitte ainult tehnilise täpsuse, vaid ka nende sügava emotsionaalse resonantsi tõttu. Madame Georges Rodenbachi kujutamisel leiab inimene julget ilu uurimist, mis suudab väljakutuda konventsioonilistele normidele, näidates tema oskust renderida tekstuur ja iseloom samavõrts pühendumusega.
Tema mitmekorralsus etsingimeistrina ja joonistajana võimaldas tal eksperimenteerida varjude ja valguse mänguga palju peenemat mõõtmetel. Olgu selleks siis Belgieaja Kuningas ja Kuninganna kuninglik kohus või maastiku vaikne olemus, Besnardi töö jääb juurdunud mõjutile, mis meenutab Thomas Gainsborough stiili — teatud elegantsile ja rütmile, mis tõstab teemat kõrgemale. Lõplikult peitub Paul Albert Besnardi tähtsuses just see dualism: ta oli kunstnik, kes suutas valitseda Prantsusmaa suurimaid saale, samas kui ta tabas kõige lennukamaid ja õrnaimaid valguse sosinaid.
