Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 23 werken van Paul Leroy in onze catalogus
Kortom
Ledige Momenten (1899) is het schilderij van Paul Leroy dat de meeste aandacht trekt. Daarna gaat de blik naar Portrait of a Young Arab Guide (1884) en Self-portrait (1883). Van de 23 werken van Paul Leroy in onze catalogus zijn dit de 21 bekendste, elk een uniek origineel gepresenteerd met het jaar, het museum en de reden waarom het blijft voortbestaan.
De zon hangt laag aan de horizon en werpt een diffuus licht over een verstilde kustlijn. Drie vrouwen en een kind rusten in het zand, hun vormen gegroepeerd in een zachte, horizontale compositie. Ze zijn gehuld in stoffen van bleekroze, crème en wit, die het vervagende licht van de horizon vangen. De zee versmelt met de lucht in een waas van goud en blauw, terwijl de golven zich zachtjes tegen…
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…
We are looking at Jésus chez Marthe et Marie, a significant work by the French painter Paul Leroy. Created around 1882, this piece arrived during a formative period in the artist's career, shortly after he had begun to establish his presence in the Parisian art scene. The painting reflects the technical precision and warmth that characterized his early output before his later, extensive travels through the Orient.
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
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 Paul Leroy | Schilderijen uit deze lijst |
|---|---|---|---|
 Musée des Beaux-Arts de Brest |
Brest | 1 | Portrait of a Young Arab Guide |
 Musée des Beaux-Arts de Quimper |
Quimper | 1 | Self-portrait |
 Petit Palais |
Parijs | 1 | Sketch for the Dining Room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing |
 Museum voor Schone Kunsten Gent |
Gent | 1 | Portrait of Alfred Leroy, the Artist’s Father |
 Musée des Beaux-Arts de Rouen |
Rouen | 1 | Jésus chez Marthe et Marie |
Een lange carrière van 18 jaar, van 1882 tot 1899: de beroemdste originele werken van Paul Leroy, jaar voor jaar getoond.
Selecteer een jaar om de originele werken te bekijken.
We are looking at Jésus chez Marthe et Marie, a significant work by the French painter Paul Leroy. Created around 1882, this piece arrived during a formative period in the artist's career, shortly after he had begun to establish his presence in the Parisian art scene. The painting reflects the technical precision and warmth that characterized his early output before his later, extensive travels through the Orient.
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.
De zon hangt laag aan de horizon en werpt een diffuus licht over een verstilde kustlijn. Drie vrouwen en een kind rusten in het zand, hun vormen gegroepeerd in een zachte, horizontale compositie. Ze zijn gehuld in stoffen van bleekroze, crème en wit, die het vervagende licht van de horizon vangen. De zee versmelt met de lucht in een waas van goud en blauw, terwijl de golven zich zachtjes tegen…
Ledige Momenten (1899). Portrait of a Young Arab Guide (1884) en Self-portrait (1883) volgen.
39 jaar oud: Ledige Momenten dateert uit 1899, en Paul Leroy werd geboren in 1860.
Ledige Momenten, 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) en Esquisse pour la figure du Christ dans Les aveugles de Jéricho. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.
Onze catalogus bevat 23 werken van Paul Leroy, daterend van 1882 tot 1899.
Voornamelijk in Musée des Beaux-Arts de Brest (Brest), Musée des Beaux-Arts de Quimper (Quimper) en Petit Palais (Parijs). De bovenstaande museumtabel bevat een volledig overzicht.
Op deze pagina is het vroegste Jésus chez Marthe et Marie (1882) en het laatste Ledige Momenten (1899).
Man (4), Skin tones (2) en Beard (2), verspreid over de 21 werken op deze pagina.
Oil On Canvas, voor 3 van de 21 werken op deze pagina.
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.
