学生作品ガイド
著作権 この作品はパブリックドメインです。ジョゼフ・デュクレ＝は1802に没し、著作権は没後70年まで保護されるため、1872に終了しました。
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Le Discret — ジョゼフ・デュクレ＝
原寸は 92 × 80 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
上の行：年。下の行：各期間の開始時と終了時の年齢 — 出生時は0、没時は 67。
作家が 56 歳の時に制作。 そのアーティストは67歳で亡くなりました。 0 の当カタログにおけるこの作家の制作年が判明している 1 点の作品のうち、これよりも以前に制作されたものがあります。
背景色：ジョゼフ・デュクレ＝の生涯 (1735–1802) ▲ 本作品、1791 年代ごとに記された、すべての絵画作品
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画像から抽出したパレット
主要色
Espresso #65533b
カタログ済みパレット
アーティストのパレット全体に含まれるこれらの色彩 色から他の絵画を探す
主要な10カ国
地図上で最も色が濃い3つの国を見つけてください。この絵画を収蔵している美術館は、そのいずれかの国にありますか？遠く離れた場所にいる人々が、この作品に目を向ける理由を一つ書き出してください。
これらの作品は、このアーティストの絵画が過去12か月間に受けた注目全体の 99.9% を占めています。カタログにはこのアーティストによる 6 点の作品が収められており、そのうち 5 点は少なくとも一度は閲覧されました。 この絵画は、その中での注目度が 1 位で、その注目の 22.2% を占めています。 月ごとの集計結果は同一です
バーは注目度を示すものであり、品質を示すものではありません。リストの最上部にある作品と、こちらの作品を選んでください：絵画がその技術的な巧拙を超えて有名になる要因として、考えられることを一つ挙げてください。
この作品について
Le Discret — ジョゼフ・デュクレ＝
By the time the French Revolution broke out in 1789, Joseph Ducreux already had a thriving portrait practice in Paris. In 1774 he had been appointed official court portraitist to Louis XVI and Marie-Antoinette. In the wake of the Revolution, he was forced to find new patrons and reinvent himself as a relevant figure in a vastly different political and cultural milieu. In this self-portrait, Le Discret (or The Silence), exhibited at the Paris Salon of 1791, the artist raises his finger to his pursed lips, urging the viewer to be silent. Apparently influenced by contemporary theories of physiognomy, he depicted himself in a range of exaggerated gestures and displaying various emotions and facial expressions. By showing himself yawning, laughing, crying, and pointing a mocking finger at the viewer, Ducreux engaged directly with his audience in a manner that was unusual for the time.
アーティストと美術館
生誕地 ナンシー, フランス
Joseph Ducreux, a name perhaps unfamiliar to many outside the circles of art history, occupies a fascinating niche in the late 18th-century French artistic landscape. Born in Nancy in 1735, his journey from the workshop of his painter father to becoming premier peintre de la reine – First Painter to Queen Marie Antoinette – is a testament to both talent and opportune timing. The son of Charles Ducreux, who served Stanisław Leszczyński, the exiled King of Poland, Joseph’s initial artistic education was steeped in the traditions of courtly portraiture. However, it was his move to Paris around 1760 that truly ignited his creative development. There, he fell under the tutelage of Maurice Quentin de La Tour, a master of pastel and renowned for his sensitive portrayals of aristocratic society. This mentorship proved pivotal, instilling in Ducreux a delicate touch and an exceptional command of pastel techniques – skills that would initially define his artistic style. He also benefited from the influence of Jean-Baptiste Greuze, whose expertise helped refine Ducreux’s oil painting abilities.
Ducreux's ascent within the French court was remarkably swift. A turning point arrived in 1769 when he secured the commission to paint a portrait of Archduchess Marie Antoinette before her marriage to Louis XVI. Remarkably, he won this prestigious assignment over more established artists, largely due to his willingness to offer a more affordable price. This initial success opened doors, and soon Ducreux was appointed premier peintre de la reine, an extraordinary achievement considering he wasn’t yet a member of the highly exclusive Royal Academy of Painting and Sculpture. The appointment ruffled feathers within the Academy, traditionally reserving such positions for its members, but royal favor proved a powerful force. He continued to navigate this complex relationship with the Academy, producing portraits that satisfied both courtly expectations and his own burgeoning artistic vision. During the tumultuous years of the French Revolution, Ducreux even traveled to London, where he created what would become the last known portrait of King Louis XVI before his tragic execution – a poignant record of a fading era.
While proficient in traditional portraiture, it is for his unconventional self-portraits that Joseph Ducreux is most celebrated today. These works, created primarily during the 1780s and 1790s, represent a radical departure from the formal conventions of the time. Instead of presenting himself with dignified composure, Ducreux dared to depict himself in moments of unrestrained emotion – yawning widely, bursting into laughter, or making deliberately comical faces. This fascination with capturing fleeting expressions stemmed from his interest in physiognomy, the now-discredited belief that facial features reveal character and inner disposition. He wasn’t merely interested in likeness; he sought to portray personality, mood, and even a sense of playful self-awareness. These self-portraits challenged the very notion of portraiture, injecting humor, spontaneity, and an unprecedented level of individuality into the genre. Some scholars draw parallels between Ducreux's expressive portraits and the tronies – character studies – favored by Dutch Golden Age painters, suggesting a broader European tradition of exploring human psychology through artistic representation.
Following the French Revolution, Ducreux continued his career with support from Jacques-Louis David, and his home became a gathering place for artists and musicians. He came from a family of creatives; his son Jules was a painter and infantry captain who tragically died in battle, while his daughters Rose-Adélaïde and Antoinette-Clémence also pursued artistic careers. Ducreux passed away in 1802, leaving behind a body of work that, while appreciated by connoisseurs for generations, experienced an unexpected resurgence in the 21st century. His self-portrait Portrait de l'artiste sous les traits d’un moqueur (Self-Portrait as a Mocker) became a viral internet meme, often paired with verbose and archaic language to create humorous captions. This unlikely phenomenon introduced Ducreux’s work to a new audience, demonstrating the enduring appeal of his playful spirit and expressive artistry.
Ducreux's oeuvre encompasses a range of portraits, but certain works stand out as particularly significant. His Portrait of Marie Antoinette (1769), commissioned before her marriage, remains a key example of his early success and royal patronage. The Self-Portrait, Yawning (c. 1783), now held in a private collection, exemplifies his unconventional approach to self-representation. However, it is the Self-Portrait as a Mocker (c. 1793), housed in the Louvre Museum, that has captured the modern imagination and cemented Ducreux’s place in popular culture. Other notable works include Le Discret (ca. 1790), showcasing his ability to capture personality through subtle expression, and his portrait of Pierre Choderlos de Laclos, author of Les Liaisons dangereuses. Joseph Ducreux’s work represents a crucial transition in the history of portraiture, moving away from rigid formality towards greater expressiveness and individuality. His self-portraits are not merely artistic exercises; they are precursors to modern concepts of self-representation and a testament to the power of art to challenge conventions and reveal the complexities of the human spirit.
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Le Discret — ジョゼフ・デュクレ＝
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「Le Discret」は、1791年にジョゼフ・デュクレ＝によって制作されました。
ジョゼフ・デュクレ＝作「Le Discret」の統計情報ページでは、公開されている閲覧統計をご覧いただけます。この作品の月間閲覧数、アーティストのなかで最も閲覧されている作品との比較、そして訪問者の地域情報などが掲載されています。
ジョゼフ・デュクレ＝作「Le Discret」は、原寸で92 x 80 cmのPortraitによる作品です。