Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 344 djela Ferdinand Guillaumin u našem katalogu
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Place Valhubert (1872) je slika autora Ferdinand Guillaumin koja privlači najviše pogleda; original se nalazi u muzeju Musée d'Orsay, Pariz. Nakon toga, pogled se usmjerava na River Scene (1890) i Paris - Quai de la Rapee (1885). Među 344 djela umjetnika Ferdinand Guillaumin u našem katalogu, ovih 100 su najpoznatija, od kojih je svako jedinstveni original predstavljen s godinom nastanka, muzejom i razlogom zbog kojeg je vječno.
The air in 1872 carries a chill that settles upon the riverbank. Snow has smoothed the edges of the city, coating the ground in a pale, quiet layer. Along the sidewalk, trees rise like dark, skeletal fingers against a sky of muted blue. They stand still, their bare branches etched sharply against the light. Beneath them, the world is a study in frost and movement.
Around 1890, the banks of the Seine became a stage for the tension between nature and the encroaching modern age. This work captures a bustling waterway where the quietude of leisure meets the grit of commerce. Several boats navigate the expanse—some barges laden with cargo, others smaller vessels drifting through calmer stretches. In the distance, the horizon is punctuated by the dark, vertical silhouettes of smoking factory chimneys, a subtle…
In this 1885 oil on canvas, we find ourselves positioned at the edge of the water, observing the industrial rhythm of the Quai de la Rapée. There is a certain weight to the scene, a sense of the heavy, working life that defined the Parisian riverfront during this period. A large cargo ship or barge dominates the left side of the composition, its massive form anchored in the midground, while…
Madame Guillaumin Reading is an oil on canvas painting created by the French artist Armand Guillaumin. Dated 1882, this work is an impressionist portrait of a young girl. The subject is positioned outdoors, seated amidst a landscape of tall grass and foliage. The composition focuses on the girl as the central figure, set against a background of trees and a distant landscape that provides a sense of depth through atmospheric…
The water of the harbor rests in muted blues and grays, a heavy expanse that mirrors a sky filled with drifting clouds. Boats sit moored in the middle ground, their dark, ochre hulls cutting through the shimmering surface. Along the shoreline, indistinct buildings rise like shadows against the horizon. The scene captures a quiet moment of transit and stillness at the Quai d'Austerlitz. Light filters through an overcast sky, casting…
A vase of flowers sits at the center of a wooden table, holding its position with a heavy, silent grace. Around this floral heart, the world is composed of everyday things: a suitcase tucked into the upper corner, a bowl, a cup, and several books. Two volumes rest near the bottom left, while another lies to the right. The scene is a study in stillness. A pair of blue gloves…
To gaze upon this portrait is to be invited into a moment suspended in time—a quiet afternoon steeped in the cultivated elegance of late 19th-century Parisian life. The subject, seated within an ornate chair, embodies a serene contemplation, her posture suggesting both intellectual engagement and profound repose. She is captured mid-activity, seemingly absorbed by the pages of a book, yet the surrounding details whisper tales of a richer, more decorative…
The Bouchardon Lock emerges from the brush of Armand Guillaumin, a painter whose life began in Paris, France, in 1841. This work, which appears in various records as about 1908, captures a specific moment of light and water. Guillaumin moves through the landscape with a hand that seeks the immediate sensation of the river and the valley. He remains a presence in the history of French painting until his death…
The river flows with a steady, rhythmic grace, carving its way through a rocky bed that catches the soft, diffused light of an overcast sky. Along the banks, the trees are heavy with the weight of the changing season, their leaves glowing in shades of golden yellow, orange, and pink. These bursts of color dominate the upper reaches of the scene, casting deep shadows of green, blue, and purple into…
In the quiet, contemplative depths of Self Portrait with Easel, we are invited into a private moment of creative gestation. Painted in 1878 by the French Impressionist master Ferdinand Guillaumin, this work serves as more than just a likeness; it is a window into the psychological landscape of a creator at work. The painting captures the artist seated before his easel, his gaze directed toward the viewer with an expression…
Rocks at Trayas1915
12
La Seine
13
The Arcueil Aqueduct at Sceaux Railroad CrossingArt Institute of Chicago
14
Nanteuil-sur-Marne1911
15
The Sand Quarry1895
16
Seaside at Agay1900
17
Self-Portrait1895 · Ohara Museum of Art
18
Paysage boise à l'étang
19
The Seine at Charenton1878 · Musée d'Orsay
20
Villiers-sur-Morin1905
21
Paysage de la Creuse 1
22
The Banks of the River
23
Madame Guillaumin Sitting in a Garden1890
24
Mill of Pont Maupuit1900 · Art Institute of Chicago
25
The Ruins of the Chateau at Crozant1899
26
Hollow in the snow1869 · Musée d'Orsay
27
Still Life with Casserole1867
28
The Seine at Paris (also known as Quai de la Rapee)1871 · Muzej fine umjetnosti u Houstonu
29
Painting1876 · National Museum of Art, Architecture and Design
30
Quai de Bercy, circa 18741874 · Musée Carnavalet
31
Les Environs de Paris1874 · Birmingham Museum and Art Gallery
32
La Seine1874 · Fine Arts Museums of San Francisco
33
The Seine at Charenton1874 · Muzej Norton Simon
34
The Bridge of Louis Philippe1875 · National Gallery of Art
35
Snow1876
36
Rue de Clamart at Vanves1873
37
Pont Marie, Quai Sully1878
38
The Seine1873
39
La Route Tournante1877
40
Portrait of a Young Woman1875
41
Damiette - Apple Trees1884 · Musée d'Orsay
42
The Path to the Valley1885 · Petit Palais
43
Painting1880 · National Museum of Art, Architecture and Design
44
Quai de Bercy1881
45
Confluence of the Marne and the Seine, Île de France1885
46
Pont Marie from the Quai d'Anjou1883
47
Palaiseau - Snow Effect1883
48
Le Charrois au bord de la Seine1882
49
The Quay at Rouen1882
50
Quai de Bercey1880
51
Damiette (also known as Vallee de Chevreuse)1880
52
The Seine at Charenton1880
53
Quai Saint Bernard in the Snow1882
54
Laundry Boat at Charenton1880
55
The Little Thieves1885
56
Epinay-sur-Orge1884
57
Vase of Chrysanthemums1885
58
Saint-Palais, the Pointe de la Douane, August 92, 10 o'clock in the morning1892 · Petit Palais
59
Village in Ile-de-France1888
60
Woman and Child in Landscape1892 · Davis Museum and Cultural Center
61
Ile de France1888
62
Quay de Bercy1891
63
The Quay d'Austerlitz, Morning1886
64
Landscape at Breuillet1890
65
Pond with Willows, Îli-de-France1889
66
Le Pleteau Bromant a Pontgibaud (also known as Puy de Dome)1890
67
la Manche Landscape1890
68
Landscape - the Creuse in the Snow1890 · Musée du Petit Palais
69
Grainstacks1891 · Musée du Petit Palais
70
Damiette Landscape1890
71
Horses in the Sand at Ivry1891
72
The Rock Breaker1890 · Rhode Island School of Design Museum of Art
73
The Sea at Pointe de la Perriere, Saint-Palais1892
74
Small Valley at Pontgibaud1890
75
Sifting Sand1891
76
Passers-by in Paris in Winter1888
77
Portrait of Madame Guillaumin1892
78
Rock Cliff on the Baumette Headland1893 · Wallraf-Richartz-Museum
79
Rocks at Agay1895 · Petit Palais
80
Les ruines du château de Crozant1898 · Musée d'Unterlinden
81
Vallée de la Creuse1895 · Musée d'Unterlinden
82
Mountainous landscape1895 · Bavarske državne slikopisne zbirke
83
Grainstacks in Île-de-France1894 · Museum Barberini
84
View of Crozant1898
85
The Sea at Saint-Palais1895 · Wallraf-Richartz-Museum
86
The Ruins at Crozant1897
87
La Creuse Landscape1895
88
Madame Guillaumin Writing1894
89
Madame Guillaumin Reading in the Garden1895
90
Landscape in the Vicinity of Rouen1898
91
The Platin Rock at Saint-Palais1893
92
Child Eating Soup1894
93
Ile de France Landscape1895
94
Saint-Julien-des-Chazes, Allier1895
95
Orchard at the Edge of the Woods in Saint-Cheron1893
96
Snow at Crozant1898
97
Saint Palais, Pointe de la Perriere1893
98
Landscape - the Creuse1897
99
Sunset on the Creuse1898
100
Red Rocks1894
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Ferdinand Guillaumin | Slike iz ovog popisa |
|---|---|---|---|
 Musée d'Orsay |
Pariz | 10 | Place Valhubert, The Seine at Charenton, Hollow in the snow |
 Petit Palais |
Pariz | 5 | The Path to the Valley, Saint-Palais, the Pointe de la Douane, August 92, 10 o'clock in the morning, Rocks at Agay |
 Musée du Petit Palais |
Ženeva | 3 | Portrait of Madame Guillaumin, Landscape - the Creuse in the Snow, Grainstacks |
 Wallraf-Richartz-Museum |
Köln | 3 | Rock Cliff on the Baumette Headland, The Sea at Saint-Palais |
 Musée d'Unterlinden |
Colmar | 3 | Les ruines du château de Crozant, Vallée de la Creuse |
 Art Institute of Chicago |
Chicago | 2 | The Arcueil Aqueduct at Sceaux Railroad Crossing, Mill of Pont Maupuit |
 National Museum of Art, Architecture and Design |
Oslo | 2 | Painting, Painting |
 Indianapolis Museum of Art |
Indianapolis | 2 | The Quai d'Austerlitz |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
The air in 1872 carries a chill that settles upon the riverbank. Snow has smoothed the edges of the city, coating the ground in a pale, quiet layer. Along the sidewalk, trees rise like dark, skeletal fingers against a sky of muted blue. They stand still, their bare branches etched sharply against the light. Beneath them, the world is a study in frost and movement.
In this 1885 oil on canvas, we find ourselves positioned at the edge of the water, observing the industrial rhythm of the Quai de la Rapée. There is a certain weight to the scene, a sense of the heavy, working life that defined the Parisian riverfront during this period. A large cargo ship or barge dominates the left side of the composition, its massive form anchored in the midground, while…
Around 1890, the banks of the Seine became a stage for the tension between nature and the encroaching modern age. This work captures a bustling waterway where the quietude of leisure meets the grit of commerce. Several boats navigate the expanse—some barges laden with cargo, others smaller vessels drifting through calmer stretches. In the distance, the horizon is punctuated by the dark, vertical silhouettes of smoking factory chimneys, a subtle…
Seaside at Agay is a representation of the seaside at Agay, a quiet corner of the French coast. The artist Ferdinand Guillaumin captured this landscape in 1900. The work measures 73 x 92 cm. It exists as a window into a specific moment of light and salt air.
In the evocative masterpiece Rocks at Trayas, the French Impressionist Ferdinand Guillaumin invites viewers into a world where the raw power of nature meets the delicate nuances of light. Painted in 1915, this breathtaking oil on canvas captures a moment of profound serenity along the rugged coastline. The composition is anchored by a dramatic foreground of weathered rocks, their textures rendered with such tactile precision that one can almost feel…
Place Valhubert (1872), Musée d'Orsay, Pariz. Nakon njih slijede River Scene (1890) i Paris - Quai de la Rapee (1885).
31 godina: Place Valhubert datira iz 1872, a Ferdinand Guillaumin je rođen/a 1841.
Place Valhubert, River Scene, Paris - Quai de la Rapee, Madame Guillaumin Reading, The Quai d'Austerlitz, Still Life with Box with Blue Gloves, Portrait of Madame Guillaumin, The Bouchardon Lock, The Bouchardon Mill, Crozant i Self Portrait with Easel. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 344 djela umjetnika Ferdinand Guillaumin, datiranih od 1867 do 1915.
Većinom u Musée d'Orsay (Pariz), Petit Palais (Pariz) i Musée du Petit Palais (Ženeva). Gornja tablica muzeja navodi sve njih.
U 1890s: 46 od 100 djela na ovoj stranici nastalo je tada, od čega je River Scene River Scene.
Na ovoj stranici najstarije djelo je iz Still Life with Casserole (1867), a najnovije iz Rocks at Trayas (1915).
Landscape (17), Trees (10) i River (6), kroz svih 100 djela na ovoj stranici.
Oil On Canvas, za 19 od 100 djela na ovoj stranici.
Impressionism, sudeći po originalima na ovoj stranici.
Place Valhubert, The Seine at Charenton i Hollow in the snow: Musée d'Orsay, Pariz posjeduje 4 djela s ove stranice.
Rođen kao Jean-Baptiste Armand Guillaumin 16. veljače 1841. godine u Parizu, čovjek koji će postati poznat kao Ferdinand Guillaumin, proveo je svoje rane godine balansirajući između obiteljskih obveza i tihe strasti prema crtežu. Prije nego što se potpuno posvetio platnu, radio je u staklenici svog uju, dok je tijekom večernjih sati pohađao lekcije crtanja kako bi usavršio svoju ruku. Taj period rada prekinut je kratkim angažmanom u francuskoj državnoj željeznici, poslom koji je prethodio njegovom službenom ulasku u svijet umjetnosti.
Godine 1861. usmjerio se prema ozbiljnijem studiju u Académie Suisse. Upravo su unutar tih zidova njegov put raskrstio Paul Cézanne i Camille Pissarro. Ti rani susreti nisu bili samo prolazna poznanstva; oni su bili početak doživotnog prijateljstva. Zajednička iskustva u ateljeru i lekcije naučene u tim prostorima pomogli su oblikovati smjer njegovih kasnijih radova.
Njegovi potezi kistom nose određenu sigurnost, nanese se opuštenom i odlučnom rukom. U svojim ranim godinama, Ferdinand Guillaumin fokusirao se na hvatanje prolaznih efekata svjetla i boje, što je postalo zaštitni znak impresionističkog pokreta. Često je radio s uljanim bojama kako bi prenio atmosferu scene, bilo da se radilo o snježnom pariškom uličnom pejzažu ili mirnoj obali rijeke. Njegov pristup nikada nije bio usmjeren na precizne, fotografske detalje, već na neposredni dojam trenutka.
Kako je njegova karijera napredovala, njegova je upotreba boje postajala sve intenzivnija. Do 1886. godine, njegova paleta donijela mu je reputaciju žestokog kolorista. Odmaknuo se od suptilnih, naturalističkih tonova svojih suvremenika, birajući umjesto toga mnogo odvažnije izražavanje. Do 1890-ih taj je pomak postao još izraženiji. Njegove su boje postale manje vjerno odraz stvarnog izgleda prirode, naginjući ka povišenoj, gotovo agresivnoj intenzitetu. Ova evolucija sugerira da je istraživao put prema fauvizmu cijlo desetljeće prije nego što se taj pokret uopće pojavio.
Način na koji je postupao sa svjetlom često je naginjao prema simbolizmu, koristeći odvažne nijanse kako bi potaknuo osjećaj snivolika mističnost. Ta napetost između hvatanja stvarnog pejzaža i korištenja boje za izražavanje emotivnog, unutarnjeg stanja definira veći dio njegovog stvaralaštva. Njegovo djelo često se nalazi na granici između promatranja prirodnog svijeta i njegove subjektivnije, ekspresivnije interpretacije.
Ferdinand Guillaumin se kretao u samom središtu impresionističkog kruga, sudjelujući na šest od osam izložbi koje je organizirala Société anonyme des artistes peintres, sculpteurs et graveurs između 1874. i 1886. godine. Njegova prisutnost na ovim okupljanjima stavila ga je uz ljude koji su oblikovali vizualni jezik tog doba. Dijelio je studijski prostor na Île Saint-Louis s Paulom Cézanneom, a njih dvoje bili su toliko bliski da je Cézanne izrađivao litografije njegovog lika. Ta bliskost omogućila je neprestani, tihi razmjenu ideja i metoda tijekom 1870-ih godina.
Njegov atelje često je služio kao mjesto okupljanja mlađe generacije slikarica i slikarova. Znali su se okupljati unutar njegovih zidova imena poput Paula Gauguina, Paula Signaca i Georgesa Seurata, pronalazeći prostor za zajedništvo. Ova poveznica s tadašnjom avangardom sugerira postojanje mosta između utvrđenog impresionističkog grupacije i pokreta koji će uslijediti. Čak je i Vincent van Gogh pronašao mnogo toga čemu se može divjeti u Guillauminovom pristupu, izražavajući veliko poštovanje prema njegovom radu kroz brojne pisma razmijenjena između 1888. i 1890. godine.
Velik dio njegovog stvaralaštva danas je pohranjen u vodećim svjetskim institucijama. Parizski Musée d’Orsay čuva čak 48 njegovih radova, pružajući nam uvid u značajan razvoj njegovog umjetničkog jezika. Među njima se izdvaja Place Valhubert, Paris, umjetničko djelo nastalo 1872. godine. Ovo platno savršeno bilježi zimski urbani pejzaž, prikazujući ljude kako koračaju kroz snježni gradski prostor uz samu obalu rijeke.
Njegova opsesija pejzažom često je vodila njegove korake prema obalama Seine. The Seine at Charenton još je jedno istaknuto remek-djelo iz njegove kolekcije. Njegova nevjerojatna sposobnost manipulacije svjetlom i bojom jasno je izražena u ovim studijama prirode i gradskog života. Mnoge od ovih slika čuvaju se u raznim muzejima, osiguravajući da njegov vizualni izraz ostane dostupan svima koji istražuju ovo uzbudljivo razdoblje umjetničke povijesti.
Preokret u životu koji je obilježio Ferdinand Guillaumin dogodio se 1891. godine. Nakon što je osvojio 100.000 franca na državnoj loteriji, napokon je stekao slobodu da napusti svoj državni posao. Ta financijska sigurnost omogućila mu je da se posveti slikarstvu u potpunosti, bez ikakvih prepreka. U godinama koje su slijedile, njegova je paleta postala još odvažnija, udaljavajući se od stroge vjernosti prirodi prema stilu koji su neki vidjeli kao izniman predskaz Fauvizma.
Njegova prisutnost u svijetu umjetnosti ostala je neuzvraćena i stabilna sve do njegove smrti 26. lipnja 1927. godine. Radove koje je ostavio iza sebe čuvaju razne kolekcije, uključujući prestižni Musée d’Orsay i Petit Palais u Parizu. Njegov doprinos impresionističkom pokretu ostaje neprocjenjiv za sve one koji proučavaju razvoj svjetla i boje u kasnom 19. stoljeću.
