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 · 21点の Louis Lafitteの作品がカタログにあります
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Louis Lafitteが遺した数多くのオリジナル作品の中で、最も有名なものはA Dying Warrior (1795)です。 それに次いで、General Servan (1741-1808) (1800)とPrairial , ninth month of the Republican Calendarが続きます。 Louis Lafitteによる21点の作品をカタログに掲載しています。当ギャラリーでは、世界が称賛する21点を選定し、制作年、所蔵美術館、そしてその背景にある物語とともにご紹介しています。
A pale, muscular body lies diagonally across a dark, rocky landscape. The man’s skin is the color of alabaster, catching a sharp light that spills from the upper left. He reclines in a state of physical collapse, his limbs heavy against the jagged stone. A crimson loincloth provides the only sudden shock of color against the deep, earthy browns and blacks of the cavernous setting. His face is turned upward,…
Louis Lafitte captures the essence of military prestige in this 1800 portrait. The composition centers on a large grey horse, its musculature defined by precise brushwork and soft textures. A standing figure dominates the foreground, draped in a blue uniform accented by a sharp red sash. To the left, a seated man offers a contemplative contrast to the central figure's authoritative posture. The scene is set within an outdoor landscape,…
Thermidor , Eleventh Month Of The Republican
12
Ventose , sixth month of the Republican Calendar
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Vendemiaire , first month of the Republican
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Messidor , tenth month of the Republican Calendar
15
Frimaire , Third Month Of The Republican Calendar
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Nivose , fourth month of the Republican Calendar
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Germinal , seventh month of the Republican Calendar
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Fructidor Twelfth Month Of The Republican Calendar
19
Brumaire , Second Month Of The Republican Calendarプランタン＝モルトゥス博物館
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Le Vengeur Du Peuple' Sinking At The Battle Of.
21
Brutus Listening To The Ambassadors From The Tarquinsロサンゼルス・カウンティ・ミュージアム・オブ・アート
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
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 3 の美術館
| 美術館 | 都市 | Louis Lafitteの作品 | このリストの絵画 |
|---|---|---|---|
 カルナヴァレ博物館 |
パリ | 1 | General Servan (1741-1808) |
 プランタン＝モルトゥス博物館 |
Antwerp | 1 | Brumaire , Second Month Of The Republican Calendar |
 ロサンゼルス・カウンティ・ミュージアム・オブ・アート |
ロサンゼルス | 1 | Brutus Listening To The Ambassadors From The Tarquins |
Louis Lafitteのこのセレクションにおける年代別の作品は、1795年から1800年までのわずか6年間にわたるもので、その短いキャリアを年ごとに示しています。
年代を選択して、当時のオリジナル作品を見る
A pale, muscular body lies diagonally across a dark, rocky landscape. The man’s skin is the color of alabaster, catching a sharp light that spills from the upper left. He reclines in a state of physical collapse, his limbs heavy against the jagged stone. A crimson loincloth provides the only sudden shock of color against the deep, earthy browns and blacks of the cavernous setting. His face is turned upward,…
Louis Lafitte captures the essence of military prestige in this 1800 portrait. The composition centers on a large grey horse, its musculature defined by precise brushwork and soft textures. A standing figure dominates the foreground, draped in a blue uniform accented by a sharp red sash. To the left, a seated man offers a contemplative contrast to the central figure's authoritative posture. The scene is set within an outdoor landscape,…
A Dying Warrior (1795)。続いてGeneral Servan (1741-1808) (1800)、Prairial , ninth month of the Republican Calendarが続きます。
25歳：A Dying Warriorは1795年の作品で、Louis Lafitteの生年は1770年です。
A Dying Warrior, General Servan (1741-1808), Prairial , ninth month of the Republican Calendar, Ferdinand De Bertier De Sauvigny, Almighty God - My Mother', From 'the Monk, While She Sang, Ambrosio Listened With Delight, Improvements for Paris, study for a low relief, Floreal , eighth month of the Republican Calendar, Massacre Of The Patriots At The Champ De Mars, - (17th) と Pluviose fifth month of the Republican Calendar。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。
当カタログには、1795年から1800年にかけて制作されたLouis Lafitteによる21点の作品が収められています。
主にカルナヴァレ博物館 (パリ), プランタン＝モルトゥス博物館 (Antwerp) と ロサンゼルス・カウンティ・ミュージアム・オブ・アート (ロサンゼルス)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。
このページでは、最も古い作品はA Dying Warrior (1795)、最新の作品はGeneral Servan (1741-1808) (1800)です。
このページに掲載されているオリジナル作品から判断すると、Neoclassicismです。
The story of Louis Lafitte begins in the vibrant atmosphere of Paris, France, where his early years were profoundly influenced by a chance encounter that would alter the course of his destiny. As the son of a master barber, his path seemed destined for a different trade, yet the arrival of the painter Simon Mathurin Lantara into his father's home ignited a transformative passion. It was Lantara who recognized a burgeoning talent within the young boy, nurturing an interest in painting that would eventually lead Lafitte to study under the esteemed engraver Gilles Demarteau and later with the renowned Jean-Baptiste Regnault.
Lafitte’s journey through the prestigious corridors of French art was marked by both immense triumph and the turbulent shifts of history. His admission to the Académie royale de peinture et de sculpture signaled his arrival among the elite, and in 1791, he achieved the monumental distinction of winning the Prix de Rome. This accolade was awarded for his evocative painting of Regulus returning to Carthage, a feat that made him the final painter sent to Rome during the reign of Louis XVI. However, the political tremors of the era soon forced him from the tranquil halls of the Villa Medici; as protests against French incursions into Italy intensified, he was compelled to seek refuge in Florence, where his artistic spirit continued to flourish through teaching.
Upon returning to Paris, Lafitte demonstrated a remarkable ability to adapt his talents to the changing needs of a nation in transition. While his heart remained tethered to the grand traditions of painting, financial pressures necessitated a diversification of his craft. He became a master of many forms, working as a designer, illustrator, and muralist. His hand was seen in the delicate allegories created for the months of the French Republican Calendar, where he infused symbolic depth into each seasonal transition. This period of his life showcased a profound command over both the intimacy of engraving and the grandeur of decorative arts.
His contributions to the architectural landscape of France were equally significant. Collaborating with the architect Charles Percier, Lafitte brought a touch of classical elegance to the Château de Malmaison, where his work featured Pompeian-style dancers that breathed life into the dining rooms. His decorative prowess extended to the Théâtre de l'Impératrice, working alongside Jean-François Chalgrin to create an immersive environment of splendor. Even in the monumental scale of public works, such as his involvement with the proposed Arc de Triomphe and his paintings for the Palais du Luxembourg, Lafitte’s work remained a testament to the enduring power of Neoclassical beauty and historical narrative.
Through his diverse body of work—ranging from dramatic charcoal drawings like Massacre of the Patriots at the Champ De Mars to serene, glazed masterpieces such as Thermidor—Louis Lafitte left an indelible mark on the French visual identity. His ability to navigate the complexities of political upheaval while maintaining a commitment to classical excellence ensures his place in the annals of art history as a true polymath of the late eighteenth and early nineteenth centuries.
