Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 19 werken van Jean-Joseph Weerts in onze catalogus
Kortom
Volgens de visie van de galerie is het beroemdste schilderij van Jean-Joseph Weerts The Murder of Marat (also known as L'Assassinat de Marat) (1880), waarvan het origineel in het Musée de la Piscine in Roubaix hangt. Portrait of Firmin Javel (1884) en Sketch for the Grand Staircase of the Hôtel des Monnaies: the City of Paris Receiving the Nations (1890) maken het trio compleet dat elk oog herkent. Van de 19 werken van Jean-Joseph Weerts in onze catalogus presenteert de galerie hieronder de 19 bekendste werken, elk een origineel met de jaartal, het museum en wat het uniek maakt.
The room is dim, heavy with the scent of ink and cooling blood. Jean-Paul Marat lies reclined upon a wooden table, his body a pale weight against the dark grain. A single wound marks his skin, a sudden rupture in the stillness of the study. Above him, Charlotte Corday remains poised, her arm extended in the wake of her violent act. Her blue and white striped dress catches the light,…
A man sits in the quiet gravity of a three-quarter view, his body angled toward the left while his presence fills the space with a heavy, contemplative stillness. Firmin Javel is rendered with a precision that honors the individual, his face marked by a well-groomed beard and a mustache that frame a mouth set in silent thought. Light descends from the upper left, carving the contours of his features and…
The air feels thick with the energy of a monumental celebration, caught in a moment of swirling movement. Within an oval-shaped vignette, a vast crowd gathers at the foot of a grand staircase, their forms rising toward a turbulent, pale blue sky. To the left, the vertical strength of a massive building reaches upward, draped in flags and banners that catch an unseen wind. On the right, a highly ornate,…
This preparatory sketch, executed in 1891, presents a female figure positioned within a triangular spandrel. The composition is framed by two large, curved sections of muted gold and ochre. The subject is draped in classical garments of pink, white, and gold, captured in a dynamic pose. She holds a long, white, ribbon-like fabric that swirls around her body, creating a sense of rhythmic movement. The lighting is soft and diffused,…
A solitary woman moves through a dreamlike space, her form caught in a moment of quiet, purposeful action. She sits in profile, her body angled toward a large wooden wheel that catches the light, perhaps spinning the threads of fate or the very fabric of a celebration. Her attire, a sleeveless white bodice paired with a flowing skirt of ochre and cream, seems to glow against a muted blue backdrop…
This wide, panoramic sketch serves as a preliminary study for a larger mural intended for the Gallery of the Cour d'Honneur at the Sorbonne. Rendered in a monochromatic palette of sepia and muted earth tones, the work captures a grand, festive procession known as The Feast of Lendit. The composition follows a strict horizontal axis, guiding the eye through a rhythmic movement of figures from left to right. Horses and…
In this portrait of Hippolyte Destailleur, Jean-Joseph Weerts captures a man of significant professional standing. Created about 1893, the work presents the subject in a moment of quiet, scholarly repose. Destailleur was a prominent French architect and interior designer, a man whose influence shaped the very spaces in which such portraits were traditionally commissioned. There is a certain weight to his presence here, a sense of the intellect required to…
The oil on canvas titled Portrait of Charles Albert Waltner in His Studio was painted by Jean-Joseph Weerts. Created about 1910, the work captures a specific moment of quietude. The subject of this portrait is Charles Albert Waltner, a French artist and etcher. He sits within the private confines of his own workspace.
Jean-Joseph Weerts presents a quiet study in "Portrait of a Man," a work dating from about 1924. The canvas captures a single male figure seated in a moment of stillness. He is a man of composed and thoughtful bearing, his presence anchored by the weight of his own reflections. A pair of spectacles rests upon his face, catching the light and framing eyes that seem to look through the immediate…
For Humanity, for the FatherlandPetit Palais
12
L'exorcisme
13
Portrait d'homme debout
14
Portrait de Pauline Bourbon, épouse d'Ernest Vallé
15
ETUDE DE TETE POUR SAINT FRANÇOIS D'ASSISE, ETANT PRET A RENDRE L'ESPRIT, SE FAIT TRANSPORTER A SAINTE MARIE DE PORTIONCULE
16
GEORGES LAFENESTREMusée Condé
17
Portrait d'homme en buste
18
ERNEST LAVISSE
19
La Mort de Bara1883 · Musée d'Orsay
De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.
De 5 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Jean-Joseph Weerts | Schilderijen uit deze lijst |
|---|---|---|---|
 Petit Palais |
Parijs | 8 | Portrait of Firmin Javel, Sketch for the Grand Staircase of the Hôtel des Monnaies: the City of Paris Receiving the Nations, Sketch for the Hall of Festivities of the Hôtel de Ville de Paris: The Lace of Valenciennes |
 Musée de la Piscine |
Roubaix | 2 | The Murder of Marat (also known as L'Assassinat de Marat), The Oratory Contest under Caligula in Lyon |
 Musée Carnavalet |
Parijs | 1 | Portrait of Hippolyte Destailleur |
 Musée Condé |
Chantilly | 1 | GEORGES LAFENESTRE |
 Musée d'Orsay |
Parijs | 1 | La Mort de Bara |
Kies een decennium om het origineel te zien dat dit tijdperk definieert.
The room is dim, heavy with the scent of ink and cooling blood. Jean-Paul Marat lies reclined upon a wooden table, his body a pale weight against the dark grain. A single wound marks his skin, a sudden rupture in the stillness of the study. Above him, Charlotte Corday remains poised, her arm extended in the wake of her violent act. Her blue and white striped dress catches the light,…
The air feels thick with the energy of a monumental celebration, caught in a moment of swirling movement. Within an oval-shaped vignette, a vast crowd gathers at the foot of a grand staircase, their forms rising toward a turbulent, pale blue sky. To the left, the vertical strength of a massive building reaches upward, draped in flags and banners that catch an unseen wind. On the right, a highly ornate,…
The oil on canvas titled Portrait of Charles Albert Waltner in His Studio was painted by Jean-Joseph Weerts. Created about 1910, the work captures a specific moment of quietude. The subject of this portrait is Charles Albert Waltner, a French artist and etcher. He sits within the private confines of his own workspace.
Jean-Joseph Weerts presents a quiet study in "Portrait of a Man," a work dating from about 1924. The canvas captures a single male figure seated in a moment of stillness. He is a man of composed and thoughtful bearing, his presence anchored by the weight of his own reflections. A pair of spectacles rests upon his face, catching the light and framing eyes that seem to look through the immediate…
The Murder of Marat (also known as L'Assassinat de Marat) (1880), Musée de la Piscine, Roubaix. Portrait of Firmin Javel (1884) en Sketch for the Grand Staircase of the Hôtel des Monnaies: the City of Paris Receiving the Nations (1890) volgen.
34 jaar oud: The Murder of Marat (also known as L'Assassinat de Marat) dateert uit 1880, en Jean-Joseph Weerts werd geboren in 1846.
The Murder of Marat (also known as L'Assassinat de Marat), Portrait of Firmin Javel, Sketch for the Grand Staircase of the Hôtel des Monnaies: the City of Paris Receiving the Nations, Sketch for the Hall of Festivities of the Hôtel de Ville de Paris: The Lace of Valenciennes, Sketch for the Hall of Festivities of the Hôtel de Ville de Paris: The Tapestry, Sketch for the Decoration of the Gallery of the Cour d'Honneur of the Sorbonne: The Feast of Lendit, Portrait of Hippolyte Destailleur, Portrait of Charles Albert Waltner in His Studio, Portrait of a Man en The Oratory Contest under Caligula in Lyon. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 19 werken van Jean-Joseph Weerts, daterend van 1880 tot 1924.
Voornamelijk in Petit Palais (Parijs), Musée de la Piscine (Roubaix) en Musée Carnavalet (Parijs). De bovenstaande museumtabel bevat een volledig overzicht.
In 1890s: 5 van de 19 werken op deze pagina werden toen gemaakt, waaronder Sketch for the Grand Staircase of the Hôtel des Monnaies: the City of Paris Receiving the Nations.
Op deze pagina is het vroegste The Murder of Marat (also known as L'Assassinat de Marat) (1880) en het laatste Portrait of a Man (1924).
Man (6), Woman (3) en Chair (2), verspreid over de 19 werken op deze pagina.
Oil On Canvas, voor 6 van de 19 werken op deze pagina.
Portrait of Firmin Javel, Sketch for the Grand Staircase of the Hôtel des Monnaies: the City of Paris Receiving the Nations en Sketch for the Hall of Festivities of the Hôtel de Ville de Paris: The Lace of Valenciennes: het Petit Palais, Parijs herbergt 8 van de werken op deze pagina.
In the grand tapestry of late 19th-century European art, few threads are as meticulously woven as those left by Jean-Joseph Weerts. A painter of Belgian origin who found his greatest resonance within the French artistic landscape, Weerts embodied the very essence of the Academic style. His life was a testament to the pursuit of classical perfection, a journey that began not in a studio, but through the disciplined eyes of his father, a mechanical engineer. This early exposure to the precision of engineering instilled in the young artist an enduring reverence for structural accuracy and the delicate nuances of draftsmanship, laying the foundation for a career defined by technical mastery and emotional depth.
Weerts’ formal odyssey into the world of fine art took flight in 1858 at the Académie des Beaux-Arts de Roubaix. However, it was his subsequent enrollment at the prestigious École des Beaux-Arts in 1867 that would truly shape his destiny. Under the tutelage of the legendary Alexandre Cabanel, Weerts entered a realm where the boundaries between reality and idealized beauty blurred. From Cabanel, he inherited the sophisticated technique of layering pigments—a method that allowed him to create canvases possessing a luminous, almost ethereal quality. This mastery over light and texture enabled him to breathe life into his subjects, transforming mere paint into flesh, fabric, and historical atmosphere.
The sheer scale of Weerts’ creative output is nothing short of staggering, with an estimated 700 works spanning a lifetime of devotion. His repertoire was primarily anchored in the profound realms of historical and religious narratives, themes that allowed him to act as both a storyteller and a moral philosopher. Through his brush, biblical epics and classical myths were reimagined with a balanced symmetry and a sense of idealized grace designed to evoke spiritual contemplation. Each composition served as a window into the past, where figures were not merely depicted but were imbued with a sense of virtue and nobility.
Beyond the sacred and the ancient, Weerts was a master of the human countenance. His portraits, such as the captivating Portrait d'homme en buste, demonstrate his ability to capture the psychological weight of his sitters, blending the meticulous observation of the Academic tradition with a profound empathy for the individual. Whether he was depicting the tragic gravity of The Death of Bara—a work so significant it earned him the prestigious Légion d'honneur in 1884—or the quiet dignity of a contemporary figure, his work remained anchored in a pursuit of timelessness.
The influence of Jean-Joseph Weerts extended far beyond the confines of a private gallery; he was an artist deeply integrated into the very architecture of French civic life. His talent for large-scale decoration made him a sought-after figure for some of the most significant public projects of the Third Republic. His hand can be found decorating the halls of power and intellect, including:
As we reflect on his life, from his beginnings in Belgium to his final rest in the hallowed grounds of Père-Lachaise, Weerts emerges as more than just a painter of the past. He was a custodian of tradition during an era of rapid change, ensuring that the values of beauty, order, and historical continuity remained vibrantly alive on canvas. His legacy survives not only in the museums that house his masterpieces but in the very spirit of the Academic tradition he so faithfully championed.
