Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 21 werken van Louis Lafitte in onze catalogus
Kortom
Van alle originele werken die Louis Lafitte heeft nagelaten, is A Dying Warrior (1795) de bekendste. Direct daarna volgen General Servan (1741-1808) (1800) en Prairial , ninth month of the Republican Calendar. Onze catalogus bevat 21 werken van Louis Lafitte; de galerie heeft de 21 meest bewonderde werken ter wereld bewaard, elk voorzien van de datum, het museum en het verhaal erachter.
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,…
The artwork titled Prairial , ninth month of the Republican Calendar is a painting by Louis Lafitte. This piece belongs to a specific series consisting of twelve allegories created to represent the months of the French Republican Calendar. The work functions as a seasonal representation within that historical calendar system.
Thermidor , Eleventh Month Of The Republican
12
Ventose , sixth month of the Republican Calendar
13
Vendemiaire , first month of the Republican
14
Messidor , tenth month of the Republican Calendar
15
Frimaire , Third Month Of The Republican Calendar
16
Nivose , fourth month of the Republican Calendar
17
Germinal , seventh month of the Republican Calendar
18
Fructidor Twelfth Month Of The Republican Calendar
19
Brumaire , Second Month Of The Republican CalendarPlantin-Moretus Museum
20
Le Vengeur Du Peuple' Sinking At The Battle Of.
21
Brutus Listening To The Ambassadors From The TarquinsLos Angeles County Museum of Art
De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.
De 3 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Louis Lafitte | Schilderijen uit deze lijst |
|---|---|---|---|
 Musée Carnavalet |
Parijs | 1 | General Servan (1741-1808) |
 Plantin-Moretus Museum |
Antwerpen | 1 | Brumaire , Second Month Of The Republican Calendar |
 Los Angeles County Museum of Art |
Los Angeles | 1 | Brutus Listening To The Ambassadors From The Tarquins |
De gedateerde werken van Louis Lafitte in deze selectie beslaan slechts 6 jaar, van 1795 tot 1800: een korte carrière, hier jaar voor jaar weergegeven.
Selecteer een jaar om de originele werken te bekijken.
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). General Servan (1741-1808) (1800) en Prairial , ninth month of the Republican Calendar volgen.
25 jaar oud: A Dying Warrior dateert uit 1795, en Louis Lafitte werd geboren in 1770.
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) en Pluviose fifth month of the Republican Calendar. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 21 werken van Louis Lafitte, daterend van 1795 tot 1800.
Voornamelijk in Musée Carnavalet (Parijs), Plantin-Moretus Museum (Antwerpen) en Los Angeles County Museum of Art (Los Angeles). De bovenstaande museumtabel bevat een volledig overzicht.
Op deze pagina is het vroegste A Dying Warrior (1795) en het laatste General Servan (1741-1808) (1800).
Neoclassicism, te oordelen aan de originelen op deze pagina.
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.
