Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 50 verk av Louis Gauffier i vår katalog
Kort fortalt
Av alle originalverkene Louis Gauffier etterlot seg, er det mest kjente A Portrait of Johan Claes Lagersvard ) (1756), som er en del av samlingen til Nationalmuseum i Stockholm. Like bak følger Christ and the Canaanite Woman (1784) og The Canaanite Woman at the Feet of Jesus Christ (1784). Vår katalog inneholder 50 verk av Louis Gauffier; galleriet har bevart de 49 verkene som verden beundrer mest, hver vist med sin dato, sitt museum og sin historie.
A seated gentleman occupies the center of this formal composition, his posture projecting a quiet authority. He is positioned slightly off-center, creating a sense of natural movement within a rigid, structured interior. A table laden with books sits before him, while a bust of a woman rests upon a pedestal to his left, adding layers of depth to the scene. Through a window in the background, an urban landscape is…
The composition centers on a profound encounter between Christ and a Canaanite woman. He is rendered in a blue and white robe, his presence marked by a measured, serene detachment. Below him, the woman kneels in a white garment, her posture one of desperate hope and vulnerability. The interaction is framed by a theatrical grouping of disciples and onlookers, their faces caught in various states of observation and quiet discussion.…
In this oil on canvas, titled The Canaanite Woman at the Feet of Jesus Christ, Louis Gauffier captures a moment of profound supplication. The scene depicts a woman from the region of Tyre and Sidon approaching Jesus to ask for the healing of her daughter. This specific narrative, found in the Gospels of Matthew and Mark, is rendered here with a sense of dramatic weight. The woman is positioned low…
The composition is anchored by two massive fluted Doric columns, creating a shallow, stage-like arena for a moment of profound tension. On the left, a seated woman draped in white and gold holds an infant, her posture suggesting a heavy, grounded sorrow. Beside her, a young boy and a woman in dark robes add to the weight of the scene. To the right, a procession of women approaches, their gestures…
In the oil painting Portrait of a Lady Seated in a Landscape by Louis Gauffier, dated about 1794, the composition is organized asymmetrically. A young woman reclines against the base of a large tree, her figure positioned on the right side of the frame. A massive, textured tree trunk anchors this side of the scene, providing a vertical element that stabilizes the subject. At the lady's feet lies a lyre,…
This oil painting, executed in 1793, presents a family group positioned within an outdoor, pastoral setting. The composition is structured around a central female figure seated prominently, her form defined by the soft folds of her clothing and a yellow shawl. To the right, a male figure, the artist, occupies the edge of the frame, while two children are situated in the lower left. The figures are set against a…
In "Eleven Sample Portraits" by Louis Gauffier, the viewer encounters a composite collection of nine distinct miniature portrait scenes arranged in a precise 3x3 grid. This Neoclassical arrangement invites the eye to wander through various social settings, each populated by figures dressed in the elegant attire of the late 18th century. The color palette shifts with every panel, moving through warm ochres, deep blues, creams, and earthy tones that distinguish…
The portrait depicts a young man positioned in the foreground on the right side of the composition. He is dressed in late 18th-century attire, featuring a white cravat and dark clothing that contrasts with the lighter tones of his skin. His right arm is outstretched toward the viewer, and he holds a sketchbook and a brush, identifying him as a scholar or an artist. The subject is rendered with smooth…
In "Portrait Of An Officer Of The Cisalpine Republic," by Louis Gauffier, a young man commands the viewer's attention through a centered composition. He occupies most of the frame, his presence filling the space with a sense of quiet authority. He wears elaborate 19th-century military attire, an ensemble that speaks clearly of his high status and specific military rank. Every detail of his uniform suggests a life of discipline and…
In the sweeping canvas of Louis Gauffier’s Cleopatra and Octavian, we are transported to a moment of profound historical tension and unparalleled opulence. Painted in 1788, on the precipice of the French Revolution, this masterpiece captures the legendary Queen of the Nile in a gesture of both diplomacy and allure. Cleopatra sits regally upon an ornate couch, her hand outstretched as if offering a silent negotiation or a fateful greeting…
Andre-francois Miot, Envoy Of The French Republic To The Grand Duke Of TuscanyNational Gallery of Victoria
12
General Jean-joseph Dessole
13
Cliff at Vicovaro1787 · National Gallery
14
Vue sur la vallée de l'Arno à Florence1795 · Musée Fabre
15
Cleopatra And Octavian,1788
16
View of Falls at Vallombrosa1797 · Fine Arts Museums of San Francisco
17
The Salucci family
18
Portrait Of Prince Augustus FrederickStaatliche Kunsthalle Karlsruhe
19
Convent in Civita CastellanaMusée Bonnat-Helleu
20
The Valley Of The Arno
21
Cornelia Presenting Her Two Young Sons
22
A Woman Of Three-quarter With A Sleeve
23
Portrait of Elizabeth, Lady Webster, later Lady
24
Portrait Of An Officer Of The Cisalpine Republic
25
Portrait Of Victor Leopold Berthier
26
Portrait Of Sir Godfrey Webster, 4th Baronet
27
View Of Vallombrosa, Near Florence_2
28
Pygmalion And GalateaManchester Art Gallery
29
Nine Sample PortraitsBowes Museum
30
A Woman, Three-quarter-length, With A Muff
31
Retrato Do Poeta Thomas Penrose
32
Portrait De Philippe-henri Coclers
33
Arno ValleyPhiladelphia Museum of Art
34
Jacob With The Daughters Of LabanMusée Sainte-Croix
35
L'ensevelissement Du Christ
36
Portrait Of A Young Man, Full-length, With Mount Vesuvius Beyond
37
The Adoration Of The Shepherds
38
Portrait Of A Lady With Two Children And A Dog On A Terrace, An Extensive River Landscape Beyond
39
The Arno Valley -Musée Fabre
40
La Vallee De L'arno -
41
For An Italian Village In A Landscape With The Dome Of Church In The Background
42
Cleopatra And Octavian
43
Odysseus Recognises Achilles Amongst The Daughters Of LycomedesNationalmuseum
44
Unknown Man, Formerly Known As Henry Richard Vassall Fox, 3rd Baron HollandNational Portrait Gallery
45
Portrait Of Count Gustaf Mauritz Armfelt In FlorenceNationalmuseum
46
Portrait Of Elizabeth Holland With His Son
47
La Générosité des dames romaines1790 · Musée Sainte-Croix
48
Ulysse and Nausicaa1798 · Musée Sainte-Croix
49
Rest Of The Holy Family On The Flight Into EgyptMusée Sainte-Croix
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Louis Gauffier | Malerier fra denne listen |
|---|---|---|---|
 Musée Sainte-Croix |
Poitiers | 5 | Christ and the Canaanite Woman, Jacob With The Daughters Of Laban, La Générosité des dames romaines |
 Nationalmuseum |
Stockholm | 3 | A Portrait of Johan Claes Lagersvard ), Odysseus Recognises Achilles Amongst The Daughters Of Lycomedes, Portrait Of Count Gustaf Mauritz Armfelt In Florence |
 Musée Fabre |
Montpellier | 3 | Eleven Sample Portraits, Vue sur la vallée de l'Arno à Florence, The Arno Valley - |
 Wadsworth Atheneum |
Hartford | 1 | Portrait of a Lady Seated in a Landscape |
 Minneapolis Institute of Art |
Minneapolis | 1 | Portrait of Dr. Thomas Penrose |
 Scottish National Gallery |
Edinburgh | 1 | Cleopatra and Octavian |
 National Gallery of Victoria |
Melbourne | 1 | Andre-francois Miot, Envoy Of The French Republic To The Grand Duke Of Tuscany |
 National Gallery |
London | 1 | Cliff at Vicovaro |
Velg et tiår for å se originalverket som definerer det.
The composition centers on a profound encounter between Christ and a Canaanite woman. He is rendered in a blue and white robe, his presence marked by a measured, serene detachment. Below him, the woman kneels in a white garment, her posture one of desperate hope and vulnerability. The interaction is framed by a theatrical grouping of disciples and onlookers, their faces caught in various states of observation and quiet discussion.…
The composition is anchored by two massive fluted Doric columns, creating a shallow, stage-like arena for a moment of profound tension. On the left, a seated woman draped in white and gold holds an infant, her posture suggesting a heavy, grounded sorrow. Beside her, a young boy and a woman in dark robes add to the weight of the scene. To the right, a procession of women approaches, their gestures…
In "Portrait Of An Officer Of The Cisalpine Republic," by Louis Gauffier, a young man commands the viewer's attention through a centered composition. He occupies most of the frame, his presence filling the space with a sense of quiet authority. He wears elaborate 19th-century military attire, an ensemble that speaks clearly of his high status and specific military rank. Every detail of his uniform suggests a life of discipline and…
A Portrait of Johan Claes Lagersvard ) (1756), Nationalmuseum, Stockholm. Deretter følger Christ and the Canaanite Woman (1784) og The Canaanite Woman at the Feet of Jesus Christ (1784).
A Portrait of Johan Claes Lagersvard ), Christ and the Canaanite Woman, The Canaanite Woman at the Feet of Jesus Christ, Roman Ladies Supplicating the Family of Coriolanus, Portrait of a Lady Seated in a Landscape, Self-portrait by Louis Gauffier with his wife and his two children, Eleven Sample Portraits, Portrait of Dr. Thomas Penrose, Portrait Of An Officer Of The Cisalpine Republic, og Cleopatra and Octavian. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 50 verk av Louis Gauffier, datert fra 1784 til 1801.
Hovedsakelig i Musée Sainte-Croix (Poitiers), Nationalmuseum (Stockholm) og Musée Fabre (Montpellier). Museumslisten ovenfor viser alle.
I 1790s: 9 av de 49 verkene på denne siden ble laget da, Roman Ladies Supplicating the Family of Coriolanus av dem.
På denne siden er det eldste Christ and the Canaanite Woman (1784) og det nyeste Portrait Of An Officer Of The Cisalpine Republic, (1801).
Portraits (10), Man (6) og Woman (6), fordelt på 49 verk på denne siden.
Oil, for 5 av de 49 verkene på denne siden.
Neoclassicism, basert på originalene på denne siden.
Christ and the Canaanite Woman, Jacob With The Daughters Of Laban og La Générosité des dames romaines: Musée Sainte-Croix, Poitiers har 5 av verkene på denne siden.
Louis Gauffiers liv var en gripende vev spunnet av tråder fra klassisk storhet og de turbulente realitetene i et kontinent i opprør. Han ble født i 1762 i den fredelige franske byen Poitiers, og hans tidlige år ble preget av en streng streben etter ekspertise under det våkne øyet til den anerkjente historiemaleren Hugues Taraval. Denne grunnleggende opplæringen i Paris inngav i ham en dyp respekt for klassisk komposisjon og en nitid observasjon av detaljer – dyder som senere skulle gjøre ham i stand til å fange både det episke omfanget i bibelske fortellinger og de intime nyansene i et menneskeansikt. Hans fremgang var rask; ved å vinne den prestisjetunge Prix de Rome i 1779 med sitt stemningsfulle verk, Kristus og kvinnen fra Kanaan, sikret Gauffier sin vei til Italia, en reise som uforanderlig skulle endre retningen for både hans sjel og hans pensel.
Da han slo seg ned i Roms levende kunstneriske atmosfære, befant Gauffier seg i skjæringspunktet mellom antikken og moderniteten. Påvirkningen fra skikkelser som Thomas Hope, en samler med enorm bredde, utvidet hans kunstneriske horisont langt utover ren etterligning av fortiden. Gjennom slike møter begynte Gauffiers arbeid å absorbere teksturene fra antikk dekor og elegansen i klassiske motiver. Imidlertid brakte den franske revolusjonens vinder med seg en lammende ustabilitet. Henrettelsen av Ludvig XVI og de påfølgende politiske skjelv tvang Gauffier inn i et liv i eksil. På flukt fra de eskalerende spenningene i Paris, søkte han og hans kone, den talentfulle maleren Pauline Chatillon, tilflukt i Firenze. Denne perioden med fordrivelse, selv om den var preget av personlig usikkerhet, ble selve digelen hvor hans mest varige stil ble smidd.
I de solfylte toskanske landskapene fant Gauffier et fristed som politisk uro ikke kunne røre. Da han ble nektet tradisjonell fransk mesenatvirksomhet på grunn av sitt rykte som royalist, vendte han seg bort fra den storslåtte og ofte krevende scenen innen historiemaleriet, mot den serene og varige skjønnheten i naturen. Denne overgangen var ikke bare en overlevelsesstrategi, men en kunstnerisk evolusjon. Han begynte å produsere landskap som resonnerte dypt med sanseligheten til engelske turister som reiste over kontinentet, der han fanget det eteriske lyset og den pastorale roen i det italienske kulturlandskapet. Hans lerreter ble vinduer inn i en verden av fred, preget av en mesterlig kontroll over fargebruk og en luminans som minnet om den store Claude Lorrain.
Hans senere år i Italia bød på en fascinerende stilistisk dualitet. Mens hans landskap tilbød et pusterom fra napoleonstidens kaos, førte ankomsten av franske tropper i Firenze i 1799 til en retur til den menneskelige figur gjennom portrettkunsten. Han ble en ettertraktet maler av offiserer, og fanget den militære elegansen og den subtile psykologiske dybden hos dem som var stasjonert i Italia. Denne perioden av hans virke viser en bemerkelsesverdig allsidighet:
Selv om livet hans ble avbrutt i 1801 i Livorno, etterlot Louis Gauffier seg en arv som overskrider den rene dokumentasjonen av en turbulent æra. Han forblir et vitalt ledd i den nyklassiske kunstens kjede, og representerer broen mellom de formelle akademiske tradisjonene i det sene 1700-tallets Frankrike og de romantiserte, lysfylte landskapene i den italienske tradisjonen. Hans evne til å finne skjønnhet midt i fordrivelsen – å transformere eksilets nødvendighet til en mulighet for stilistisk gjenfødelse – står som et vitnesbyrd om den kreative ånds motstandskraft. I dag står hans verk som tause vitner til en svunnen verden, og inviterer moderne betraktere til å oppleve den samme følelsen av undring og ro som en gang ledet hans pensel over de toskanske slettene.
