11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 1点の Henry de Triquetiの作品がカタログにあります
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ギャラリーの視点では、Henry de Triquetiの最も有名な作品はValentine of Milan and Charles VI (1833)であり、その原画はMontargisのMusée Girodetに展示されています。 当カタログに含まれるHenry de Triquetiの作品1点の中から、特に有名な1点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
The scene unfolds through the dramatic tension of Valentine of Milan and Charles VI, a work that captures a heavy, historical moment. Henry de Triqueti, the artist behind this narrative, brings a sense of profound weight to the figures gathered in the shadows. Born in 1803 in Conflans-sur-Loing, France, the painter navigates the complexities of human interaction and period drama with a focused, intense gaze. The air in the chamber…
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Henry de Triquetiの作品 | このリストの絵画 |
|---|---|---|---|
 Musée Girodet |
Montargis | 1 | Valentine of Milan and Charles VI |
このページに掲載されているHenry de Triquetiによるすべてのオリジナル作品は1833年に制作されたものです。まずは、最も有名な作品からご紹介します。
年代を選択して、当時のオリジナル作品を見る
The scene unfolds through the dramatic tension of Valentine of Milan and Charles VI, a work that captures a heavy, historical moment. Henry de Triqueti, the artist behind this narrative, brings a sense of profound weight to the figures gathered in the shadows. Born in 1803 in Conflans-sur-Loing, France, the painter navigates the complexities of human interaction and period drama with a focused, intense gaze. The air in the chamber…
Valentine of Milan and Charles VI (1833)
30歳：Valentine of Milan and Charles VIは1833年の作品で、Henry de Triquetiの生年は1803年です。
当カタログにはHenry de Triquetiによる作品が1点ございます。
主にMusée Girodet (Montargis)に所蔵されています。上記の美術館一覧にすべて記載されています。
Henry de Triqueti entered the world in 1803 within the walls of the Château du Perthuis in Conflans-sur-Loing, France. He was born into a lineage of distinction, the son of Baron Michel de Triqueti, a man of industry and diplomacy from Piedmont. The family name itself carried the weight of royal favor; in 1788, King Victor Amadeus III of Sardinia had bestowed a barony upon Michel, leading the family to adopt the name Triqueti. This background of influence and structured social standing shaped the environment into which the young artist was born.
The path toward the arts was not the first one laid out for him. In his youth, Henry de Triqueti turned his mind toward the study of law, seeking a profession of logic and order. Yet, the pull of a different vocation proved too strong to ignore. He eventually abandoned the legal studies of his early years to devote himself entirely to the creative pursuits that would define his life. This transition from the rigid world of law to the fluid realm of art marked the beginning of a profound transformation.
To refine his burgeoning talent, he sought the guidance of the esteemed Baron Gros. Under this mentorship, he began to hone the skills that would allow him to master the physical properties of his medium. This period of training provided the essential foundation for a career that would eventually span across borders, moving from the studios of France to the royal circles of England.
Around 1830, a profound shift occurred in the artist's creative life. He turned his hands away from the brush and toward the more tactile, heavy medium of sculpture. This change in direction brought him into the inner circles of French power. He eventually assumed the position of one of the July Monarchy’s official sculptors, a role that allowed his talent to be seen by the highest levels of society. Through this service, he obtained the patronage of King Louis-Philippe, securing his place within the artistic establishment of the era.
His work during this French phase was marked by significant public commissions that defined his reputation. Between 1834 and 1841, he labored on the bronze doors of the church of La Madeleine in Paris. These doors required a mastery of relief that would define much of his early success. His ability to command such large-scale, prestigious projects ensured that his name was spoken in the halls of Paris long before he sought his fortunes abroad.
The sculptor's connection to the ruling house was further cemented by his intimate commissions for the royal family. In 1842, he was tasked with creating the tomb effigy of Ferdinand-Philippe d’Orléans. This work, alongside his ecclesiastical commissions, established him as a sculptor capable of handling both the sacred and the monumental. His time in France was a period of steady ascent, building the technical skill and the social standing that would eventually lead him toward the English court.
Following the fall of the July Monarchy in 1848, Triqueti turned his gaze toward England, seeking new horizons for his craft. It was in this period of transition that he began to cultivate connections with the most prestigious circles of British society. He found himself drawn into the orbit of the royal family, establishing a bond that would define the latter part of his life. His deep piety and a profound, scholarly knowledge of Renaissance art struck a chord with Prince Albert, earning the sculptor a place of respect within the court.
This relationship with the monarchy led to some of his most significant commissions. Queen Victoria herself entrusted him with the design of the Triqueti Marbles for the Albert Memorial Chapel at Windsor Castle. For this sacred space, he dedicated much of his energy to creating intricate tarsia wall panels and a marble tomb-chest. His work in the chapel, which continued until 1874, demonstrated a technical precision that married his French training with the solemnity required by his English patrons.
Triqueti possessed a rare ability to marry the strict discipline of classical rigor with the warmth of intricate storytelling. His hands moved with a precision that allowed him to navigate many different mediums, from the heavy weight of bronze to the delicate translucency of ivory. He was a master of the bas-relief, a skill that allowed him to carve deep, narrative scenes into surfaces that seemed to breathe with life. This technical command ensured that even his most complex compositions remained legible and emotionally resonant.
His work often relied on a fusion of technical precision and emotional depth, a quality that made his sculptures particularly suited for religious and memorial subjects. He was a practitioner of tarsia, using inlaid marble to create patterns and scenes that required immense patience and a steady hand. This method allowed him to achieve a level of detail that few of his contemporaries could match. Whether working in wood, marble, or bronze, he sought to capture a sense of movement and human feeling within the stillness of the stone or metal.
In the quietude of his private life, Triqueti found companionship in Julia Philippine Forster. Her lineage was one of artistic tradition, as she was the granddaughter of the British sculptor Thomas Banks. This union brought forth two children, Blanche Eugénie Cécile Sophie de Triqueti Childe and Édouard Henry de Triqueti. Beyond his immediate family, his legacy extended through his relationship with the English sculptor Susan Durant, a student of his own, with whom he fathered the diplomat Sir Paul Harvey in 1869.
The final chapter of his life unfolded in Paris. He passed away on 11 May 1874, within the walls of his home at 65, Rue d'Amsterdam in the 8th arrondissement. After his departure, he was laid to rest in the Père-Lachaise cemetery, leaving behind a body of work that had bridged the gap between the courts of France and the royal circles of England.