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 · 3点の Alexandre De Latourの作品がカタログにあります
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Portrait of an unknown man (1815)はAlexandre De Latourの作品の中で最も注目を集めている絵画です。原画はアムステルダムの国立美術館に所蔵されています。 その後、視線はMarie Simons, Mother of the ArtistとSelf Portraitへと移ります。 当カタログに含まれるAlexandre De Latourの3点の作品のうち、これら3点は最も有名な作品です。制作年、所蔵美術館、そして時代を超えて愛される理由とともに、一点もののオリジナル作品をご紹介します。
The gaze of an unidentified male meets the viewer in this Portrait of an unknown man. Painted by the Belgian miniaturist Alexandre De Latour, the work captures a moment of quiet dignity. The subject remains a mystery to history, a nameless figure preserved in a small, intimate scale. He appears as a youthful presence, his features rendered with a precision that suggests a deep familiarity with the man who sat…
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 2 の美術館
| 美術館 | 都市 | Alexandre De Latourの作品 | このリストの絵画 |
|---|---|---|---|
 アントウェルペン王立美術館 |
アントウェルペン | 2 | Marie Simons, Mother of the Artist, Self Portrait |
 国立美術館 |
アムステルダム | 1 | Portrait of an unknown man |
ここに表示されているAlexandre De Latourの年代別オリジナル作品はすべて1815年のもので、知名度の高い順に並んでいます。
年代を選択して、当時のオリジナル作品を見る
The gaze of an unidentified male meets the viewer in this Portrait of an unknown man. Painted by the Belgian miniaturist Alexandre De Latour, the work captures a moment of quiet dignity. The subject remains a mystery to history, a nameless figure preserved in a small, intimate scale. He appears as a youthful presence, his features rendered with a precision that suggests a deep familiarity with the man who sat…
Portrait of an unknown man (1815)（国立美術館, アムステルダム）。次いでMarie Simons, Mother of the Artist、Self Portraitが続きます。
35歳：Portrait of an unknown manは1815年の作品で、Alexandre De Latourの生年は1780年です。
当カタログにはAlexandre De Latourによる作品が3点ございます。
主にアントウェルペン王立美術館 (アントウェルペン) と 国立美術館 (アムステルダム)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。
Marie Simons, Mother of the Artist と Self Portrait：アントウェルペン王立美術館, アントウェルペンには、このページに掲載されている作品のうち2点が所蔵されています。
To look at the work of Alexandre De Latour is to witness a specific kind of technical discipline that modern art often lacks. He was not merely a painter; he was a Belgian miniaturist who mastered the ability to reconstruct faces with startling accuracy from memory alone. This skill suggests a mind trained for intense observation rather than mere decoration. His career spanned the shifting political landscapes of the French First Republic, Napoleonic France, and the United Kingdom of the Netherlands, yet his focus remained fixed on the small-scale intimacy of the portrait.
His technical foundation was built within his own family home. He began with lessons from his mother, Marie de Latour, a specialist in miniatures herself. This early immersion provided him with a direct lineage of skill. He later refined this through formal training under Louis-Marie Autissier in Brussels and Jean-Baptiste Jacques Augustin in Paris. The influence of Augustin is particularly visible in the way De Latour handled detail. It was a rigorous, structured approach to the miniature format.
De Latour did not paint in a vacuum; his career was defined by official recognition from the highest levels of European authority. His talent earned him the position of official miniaturist for the House of Orange under King William I. Following the establishment of the Kingdom of Belgium in 1831, he maintained this status as an official miniaturist for the new kingdom. These were not mere titles. They required a level of reliability and precision that could satisfy the demands of a royal court.
His professional reach extended across borders through several key achievements:
While his miniatures are his primary legacy, De Latour also produced small-format oil paintings and landscapes. His work survives today in several major institutions, proving that his technical reach went beyond the tiny scale of portraiture. The presence of his portraits in the Wallace Collection in London and the Royal Museums of Fine Arts of Belgium confirms the historical weight of his output. He left behind a body of work that functions as a precise visual record of the people and eras he inhabited.
His son, Édouard, followed him into the profession as a genre painter, ensuring the continuation of this specific Belgian tradition. The works of Alexandre De Latour remain anchored in the concrete reality of his subjects, from the Portrait of Countess Elisaveta Vorontsova to his various depictions of gentlemen and ladies in empire dress. He did not seek to reinvent the medium; he sought to perfect it.
