Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 34 Adélaïde Labille-Guiard darbai mūsų kataloge
Trumpai tariant
Portrait of Madame de Genlis (1790) yra viena矚 most žiūrėlių pritraukiančių Adélaïde Labille-Guiard tapierių; originalas saugomas Los Angelos apygardos meno muziejus, Los Anželesas. Po to akmuo patenka į Self-Portrait with Two Pupils (1785) ir Portrait of a Woman (1793). Iš 34 Adélaïde Labille-Guiard darbų mūsų kataloge šios 34 yra garsiausios – kiekvienas yra unikali originali dai̇lia, pateikta su jos metais, muziejumi ir priežastimi, kodėl ji išlieka per amžius.
The Portrait of Madame de Genlis is a work by the French artist Adélaïde Labille-Guiard. Executed in 1790, this oil on canvas depicts Stéphanie Félicité, comtesse de Genlis. The subject was a French writer active during the late 18th and early 19th centuries.
Step closer to observe the quiet authority within this large-scale oil on canvas. Here, Adélaïde Labille-Guiard places herself at the center of her own professional narrative, seated before an easel in a way that suggests both stability and command. The composition follows a triangular structure, with the artist anchoring the left side while two of her pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond, lean in from the right. There…
is an oil painting by the French artist Adélaïde Labille-Guiard. Executed in 1793, the work presents an elegant and dignified subject in a three-quarter view. The composition is presented in an oval format, a common choice for portraiture of this period.
In the Portrait of Mme. Clodion geb. Pojou by Adélaïde Labille-Guiard, an aristocratic woman occupies the center of the frame. She is positioned in a three-quarter view, her presence anchored against a dark, indistinct background. This placement pushes her figure forward, making her the singular focus of the composition. The sitter carries a sense of poise, her gaze and posture suggesting a quiet, steady presence within the space.
An elegant bust-length portrait, rendered in oil on canvas, captures a woman in an oval composition. Set against a dark, atmospheric background, the subject emerges through a sophisticated use of chiaroscuro. The lighting, directed from the upper left, casts gentle shadows across her features, emphasizing the three-dimensional form of her face and neck. Her expression remains calm and poised, conveying a sense of aristocratic grace through a subtle, enigmatic gaze.
This intimate 18th-century portrait miniature is presented in an oval format. The composition features two figures: a woman in the foreground, positioned slightly to the left and facing the viewer, and a man in the background, positioned to the right, appearing as if he is being painted on a canvas within the scene. The color palette is sophisticated and muted, dominated by soft lavenders, greys, whites, and earthy tones, with…
The gaze of the sitter meets us in Portrait de Joseph Benoît Suvée, a formal portrait painted by Adélaïde Labille-Guiard. This work, dating to 1783, captures the likeness of Joseph Benoît Suvée with a sense of quiet, aristocratic dignity. The subject sits poised, his presence defined by the careful rendering of his features and the subtle textures of his attire. There is a stillness here, as if the moment of…
The oil on canvas work titled Mme Dugazon in the role of Babet was executed by the French artist Adélaïde Labille-Guiard. This portrait dates to about 1782. The subject is presented in a specific costume, which indicates a theatrical theme related to a character performance.
Presented in an oval format, the composition focuses on the head and upper torso of the subject. She is styled with an elaborate, high-piled powdered wig, which is adorned with pearls. A single pink rose is tucked near her shoulder, providing a point of organic color against the textures of her attire.
In the 1784 Portrait of the Princess of Béthune, Adélaïde Labille-Guiard presents a young woman within an elegant oval format. The composition focuses on the subject from the chest up, a bust-length arrangement that brings her presence close to the viewer. She emerges from a dark, mottled teal-green background, a choice that pushes her pale complexion and luminous attire into sharp relief. The stillness of the scene feels heavy with…
The Painter Joseph Vernet in 17821782 · Musée Calvet
12
Portrait of Philiberte-Orléans Perrin de Cypierre, Countess of Maussion1787 · Musée Cognacq-Jay
13
The Princess of Montléar1790 · Collection Bemberg
14
Study of a Seated Woman Seen from Behind1789 · Metropolitano meno muziejus
15
Elisabeth-Philippe-Marie-Hélène of France, known as Madame Elisabeth (1764-1794)1788 · Château de Versailles
16
Marie-Adélaïde of France, known as Madame Adélaïde1787 · Opera House
17
Portrait of Duchesse d'Aiguillon1790
18
Madame Victoire of France1788 · Château de Versailles
19
Portrait of Madame la comtesse de Lameth1790
20
Monsieur Meunier1798 · Honolulu meno muziejus
21
Portrait of Physician Jacques Charles1798 · Bibliothèque de l'Institut de France
22
LE PEINTRE FRANCOIS ANDRE VINCENT (1746 1816)Liuvro muziejus
23
Portrait of a ManDallas Museum of Art
24
Portrait of a Young Woman Leaning on a Statue of Cupid, Traditionally Called, Mme Papillon de la FertéChâteau de Rambouillet
25
portrait of Gaspard Gilbert Delamalle
26
MARIE ADELAIDE DE FRANCE, DITE MADAME ADELAIDE (1732 1799)
27
MARIE THERESE LOUISE VICTOIRE DE FRANCE, DITE MADAME VICTOIRE (1733 1799)
28
CHARLES ROGER, PRINCE DE BAUFFREMONT (1713 1795)
29
ELISABETH PHILIPPINE MARIE HELENE DE FRANCE, MADAME ELISABETH (1764 1794)
30
CHARLES AMEDEE PHILIPPE VAN LOO (1719 1795)
31
Madame de Selve faisant de la musique1787
32
Head of a Young Woman1779 · J. Paul Getty muziejus
33
Portrait of a Woman1787 · Musée des Beaux-Arts de Quimper
34
LOUISE ELISABETH DE FRANCE, DUCHESSE DE PARME (1727 1759)Château de Versailles
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Adélaïde Labille-Guiard darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Château de Versailles |
Versalio | 3 | Elisabeth-Philippe-Marie-Hélène of France, known as Madame Elisabeth (1764-1794), Madame Victoire of France, LOUISE ELISABETH DE FRANCE, DUCHESSE DE PARME (1727 1759) |
 Metropolitano meno muziejus |
Niujorkas | 2 | Self-Portrait with Two Pupils, Study of a Seated Woman Seen from Behind |
 Los Angelos apygardos meno muziejus |
Los Anželesas | 1 | Portrait of Madame de Genlis |
 National Museum of Women in the Arts |
Vašingtonas, D.C. | 1 | Portrait of a Woman |
 Musée des Beaux-Arts |
Carcassonne | 1 | Portrait of a woman |
 Nationalmuseum |
Stokholmas | 1 | Madame Lefranc Painting the Portrait of her Husband Charles Lefranc |
 Groeningemuseum |
Brugė | 1 | Portrait de Joseph Benoît Suvée |
 Finnish National Gallery |
Helsinkis | 1 | Mme Dugazon in the role of Babet |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
This intimate 18th-century portrait miniature is presented in an oval format. The composition features two figures: a woman in the foreground, positioned slightly to the left and facing the viewer, and a man in the background, positioned to the right, appearing as if he is being painted on a canvas within the scene. The color palette is sophisticated and muted, dominated by soft lavenders, greys, whites, and earthy tones, with…
Step closer to observe the quiet authority within this large-scale oil on canvas. Here, Adélaïde Labille-Guiard places herself at the center of her own professional narrative, seated before an easel in a way that suggests both stability and command. The composition follows a triangular structure, with the artist anchoring the left side while two of her pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond, lean in from the right. There…
The Portrait of Madame de Genlis is a work by the French artist Adélaïde Labille-Guiard. Executed in 1790, this oil on canvas depicts Stéphanie Félicité, comtesse de Genlis. The subject was a French writer active during the late 18th and early 19th centuries.
Portrait of Madame de Genlis (1790), Los Angelos apygardos meno muziejus, Los Anželesas. Toliau seka Self-Portrait with Two Pupils (1785) ir Portrait of a Woman (1793).
41 metų amžiaus: Portrait of Madame de Genlis sukurta 1790 m. Nr. Adélaïde Labille-Guiard gimė 1749.
Portrait of Madame de Genlis, Self-Portrait with Two Pupils, Portrait of a Woman, Portrait of Mme. Clodion geb. Pojou, Portrait of a woman, Madame Lefranc Painting the Portrait of her Husband Charles Lefranc, Portrait de Joseph Benoît Suvée, Mme Dugazon in the role of Babet, Portrait of Helena Apolonia Potocka née Massalska (1763-1815) ir Portrait of the Princess of Béthune. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 34 Adélaïde Labille-Guiard darbų, skirtų laikotarpiui nuo 1779 iki 1798.
Daugiausia – Château de Versailles (Versalio), Metropolitano meno muziejus (Niujorkas) ir Los Angelos apygardos meno muziejus (Los Anželesas). Viršuje esančiame muziejų sąraše yra visi jie.
1780s laikotarpiu: 15 iš 34 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Self-Portrait with Two Pupils.
Šioje pusėje seniausias darbas yra Madame Lefranc Painting the Portrait of her Husband Charles Lefranc (1779), o naujausias – Monsieur Meunier (1798).
Woman (18), Lace (9) ir Man (6) iš 34 šioje pusėje esamų darbų.
Oil On Canvas, iš 34 šios puslapio darbų – 16.
Neoclassicism ir Rococo, vadovaujantis šios puslapio originalais kūriniais.
Elisabeth-Philippe-Marie-Hélène of France, known as Madame Elisabeth (1764-1794), Madame Victoire of France ir LOUISE ELISABETH DE FRANCE, DUCHESSE DE PARME (1727 1759): Château de Versailles, Versalio kolekcijoje yra 3 šioje pusėje esančių darbų.
Adélaïde Labille-Guiard kėlimas per Paryžiaus meno sceną buvo kupinas tiek triumfų, tiek nuolatinės kovos su kliūtimis. Ji greitai pelnė pripažinimą dėl savo miniatūrinės portretų serios, 1767 metais eksponuodama savo darbus Académie de Saint-Luc, kas tapo milžinišku etapu bet kokiam jaunai menininkui, o ypač moterims. Nepaisant šios pradinės sėkmės, ji susidūrė su dideliu pasiprieazinimu iš įtvirtintų vyro menininkų, kurie dominavo Akademiijoje. Tuomet vyravusi įsitikinimo, jog moterys yra prigimtiniškai nesugebanti meistriškai valdyti sudėtingų meno technikų ir jiems trūksta intelektualinio rigorizmo, reikalingo rimtai tapybai, sukūrė neįtikėtinus barjerus karerai. Tačiau Adélaïde Labille-Guiard talentas ir ryžtas atsisakė būti slaptoji. Ji tęsė savo studijas, nuolatos tobulino įgūdžius ir stabiliškai didino klientų ratą. Lemiamas lūžis įvyko 1783 metais, kai ji buvo priimta į Académie Royale de Peinture et de Sculpture – tai buvo istvinis pasiekimas, padėjęs jai tapti viena iš pirmųjų moterų, gavusių pilną akademinę pripažinimą prestižinėje institucijoje. Tačiau šis priėmimas keliavo kartu su tam tikrais apribojimais, įskaitant apribojimus dėl studijos erdvės bei reikalavimą besikoncentruoti pr mostly portretų kūryboje.
