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 · 23点の Paul Leroyの作品がカタログにあります
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閑暇なひととき (1899)は、Paul Leroyの作品の中で最も注目を集めている絵画です。 その後、視線はPortrait of a Young Arab Guide (1884)とSelf-portrait (1883)へと移ります。 当カタログに含まれるPaul Leroyの23点の作品のうち、これら21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。
太陽は低く垂れ込め、静かな海岸線に柔らかな拡散光を投げかけています。砂の上には三人の女性と一人の子供が憩い、その姿は穏やかな水平の構図を描くように寄り添っています。彼女たちが身に纏う淡いピンク、クリーム色、そして白の布地は、地平線に沈みゆく光を優しく捉えています。海と空は金色のグラデーションと青の色彩の中で溶け合い、波は海岸に向かって緩やかに寄せては返します。あらゆる曲線は、手足の柔らかな輪郭や、潮の満ち引きの緩やかな動きに従っています。それは、昼から夜へと移ろう瞬間に捉えられた、静寂の情景なのです。
The subject is a young man presented in a strict side profile, facing toward the right side of the frame. He is positioned on the left, creating a compositional weight that directs the viewer's gaze across the canvas. His head is wrapped in a voluminous white turban, the folds of which are rendered with heavy, visible brushwork that suggests the weight and texture of the fabric. Below the turban, the…
A young man stares directly from the canvas, his eyes holding a quiet, contemplative weight that pulls the viewer into his immediate presence. The light, spilling softly from the upper left, carves the contours of his nose and cheekbones, casting gentle shadows that define a face caught in a moment of deep thought. He is dressed in a dark jacket over a white shirt, accented by a patterned bow tie…
The oil sketch for the dining room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing is a work by Paul Leroy. Created between 1891 and 1892, this piece emerged from a specific moment of civic ambition. It was an entry for a competition intended to embellish the Hôtel de Ville de Paris before the turn of the century.
The face of an elderly man emerges from a heavy, dark void. It is a study of light meeting the quiet gravity of age. A single light source, positioned to the upper left, carves the contours of a high forehead and the deep-set eyes of a man who has seen many seasons. His white beard is a thick, textured landscape of fine brushwork, catching the light where it meets the…
PORTRAIT DE LA MERE DE L'ARTISTE
12
Les pèlerins d'Emmaüs
13
The Harem Dance
14
La casbah d'Alger
15
La citadelle du Caire
16
Le vieux Caire
17
Going to Church
18
Mending the stocking
19
The Musicians
20
Chemin de croix 2e station Jésus est chargé de la croix
21
Nature morte aux objets d'époque Louis Philippe
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 5 の美術館
| 美術館 | 都市 | Paul Leroyの作品 | このリストの絵画 |
|---|---|---|---|
 Musée Des Beaux |
ブレスト | 1 | Portrait of a Young Arab Guide |
 Musée des Beaux-Arts de Quimper |
カンペール | 1 | Self-portrait |
 プチ・パレ |
パリ | 1 | Sketch for the Dining Room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing |
 Museum of Fine Arts Ghent (MSK) |
ゲント | 1 | Portrait of Alfred Leroy, the Artist’s Father |
 ルーアン美術館 |
ルーアン | 1 | Jésus chez Marthe et Marie |
18年にわたるキャリア、1882年から1899年まで：Paul Leroyの最も有名なオリジナル作品を、年代ごとにご紹介します。
年代を選択して、当時のオリジナル作品を見る
A young man stares directly from the canvas, his eyes holding a quiet, contemplative weight that pulls the viewer into his immediate presence. The light, spilling softly from the upper left, carves the contours of his nose and cheekbones, casting gentle shadows that define a face caught in a moment of deep thought. He is dressed in a dark jacket over a white shirt, accented by a patterned bow tie…
The subject is a young man presented in a strict side profile, facing toward the right side of the frame. He is positioned on the left, creating a compositional weight that directs the viewer's gaze across the canvas. His head is wrapped in a voluminous white turban, the folds of which are rendered with heavy, visible brushwork that suggests the weight and texture of the fabric. Below the turban, the…
The face of an elderly man emerges from a heavy, dark void. It is a study of light meeting the quiet gravity of age. A single light source, positioned to the upper left, carves the contours of a high forehead and the deep-set eyes of a man who has seen many seasons. His white beard is a thick, textured landscape of fine brushwork, catching the light where it meets the…
The oil sketch for the dining room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing is a work by Paul Leroy. Created between 1891 and 1892, this piece emerged from a specific moment of civic ambition. It was an entry for a competition intended to embellish the Hôtel de Ville de Paris before the turn of the century.
閑暇なひととき (1899)。続いてPortrait of a Young Arab Guide (1884)、Self-portrait (1883)が続きます。
39歳：閑暇なひとときは1899年の作品で、Paul Leroyの生年は1860年です。
閑暇なひととき, Portrait of a Young Arab Guide, Self-portrait, Sketch for the Dining Room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing, Portrait of Alfred Leroy, the Artist’s Father, Jésus chez Marthe et Marie, The girls of Atlas, Intérieur de mosquée, Jésus chez Marthe et Marie (Esquisse) と Esquisse pour la figure du Christ dans Les aveugles de Jéricho。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、1882年から1899年にかけて制作されたPaul Leroyによる23点の作品が収められています。
主にMusée Des Beaux (ブレスト), Musée des Beaux-Arts de Quimper (カンペール) と プチ・パレ (パリ)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Jésus chez Marthe et Marie (1882)、最新の作品は閑暇なひととき (1899)です。
このページに掲載されている21点の作品におけるMan (3), Skin tones (2) と Beard (2)
このページに掲載されている全21作品のうち、3作品のOil On Canvas
Born in Paris, France, Paul Alexandre Alfred Leroy spent his formative years far from the streets of his birthplace. His childhood was spent in Odessa, Russia, where his father conducted business. This early exposure to a different way of life left a lasting impression on the young boy, planting a seed of interest in the East that would define his entire career. When he eventually returned to Paris to study at the École des Beaux-Arts, he did so with a perspective shaped by those distant horizons.
His talent was evident early on. In 1882, at the age of twenty-two, he presented Jesus with Martha and Mary, a large format work that secured his place in the public eye. This painting, which was later acquired by the Musée de Rouen, demonstrated a warmth and a lively use of color that distinguished him from his teacher, Alexandre Cabanel. It was a work of striking sincerity, capturing a sense of everyday life even within a religious subject.
The hunger for the Orient led him away from the studios of Paris and into the heat of North Africa and the Middle East. He traveled through Italy, moving from Genoa to Rome via Milan and Venice, a trip that infused his palette with a Venetian sensibility. His later travels were more focused on the lands that would become his primary subjects. Between 1885 and 1887, he spent two years in Egypt, and his wanderings took him through Turkey, Tunisia, Algeria, Constantinople, and Persia.
These travels were not merely for inspiration; they were deep immersions. He studied the Arabic language, a skill that allowed him to incorporate Arabic script into his paintings and lithographs with a level of authenticity that few of his contemporaries could claim. His work often focused on:
Leroy was a man of significant influence within his professional circles. He was a founding member of the Société des Peintres Orientalistes Français in 1893. His contribution to the group was not limited to his brushwork; he also designed the society's first logo, which incorporated symbols such as the sickle moon, the star of David, and the black hand of Fatma. This involvement solidified his position among the leading voices of the Orientalist movement.
Throughout his life, his technical skill was recognized through various honors, including a medal and a second gold medal in 1882, as well as the Prix du Salon in 1884. Whether working in oil, watercolours, or lithography, he remained dedicated to depicting the world as he had seen it, from the religious scenes of his youth to the complex social interiors of the Middle East. He passed away in 1942, leaving behind a body of work that captured a specific, lived reality of the Orient.
