Portrett av Auguste de Creuse

De 8 mest kjente maleriene av Auguste de Creuse, et gallerivalg

Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 8 verk av Auguste de Creuse i vår katalog

Kort fortalt

Av alle originalverkene Auguste de Creuse etterlot seg, er det mest kjente Portrait of Susanne de Baudéan (1625-1700) (1837), som er en del av samlingen til Château de Versailles i Versailles. Like bak følger Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini (1839) og Portrait de Louis IX, roi de France. Vår katalog inneholder 8 verk av Auguste de Creuse; galleriet har bevart de 8 verkene som verden beundrer mest, hver vist med sin dato, sitt museum og sin historie.

1806 – 1839, Montrond-le-Château Flest verk: Château de Versailles

Auguste de Creuses topp 10 malerier: galleriets utvalg

Museene som har Auguste de Creuses originalverk

Museet som innehar flest av maleriene på denne siden.

Museum By Verker av Auguste de Creuse Malerier fra denne listen
Château de Versailles, VersaillesChâteau de Versailles Versailles 4 Portrait of Susanne de Baudéan (1625-1700), Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini, EUGENE ADELAIDE LOUISE D'ORLEANS, MADAME ADELAIDE (1777 1847)

Auguste de Creuse år for år: originalverkene som definerer hvert år

Fra 1837 til 1839, i løpet av bare 3 år, finn alle de daterte verkene til Auguste de Creuse i dette utvalget: her er hvert år i sin fineste form.

Verk per år

Velg et år for å se originalverkene.

Samlere spør om maleriene til Auguste de Creuse

Hvilket verk er Auguste de Creuse mest kjent for?Avslør svaret

Portrait of Susanne de Baudéan (1625-1700) (1837), Château de Versailles, Versailles. Deretter følger Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini (1839) og Portrait de Louis IX, roi de France.

Hvor gammel var Auguste de Creuse da Portrait of Susanne de Baudéan (1625-1700) ble laget?Avslør svaret

31 år gammel: Portrait of Susanne de Baudéan (1625-1700) er fra 1837, og Auguste de Creuse ble født i 1806.

Hvor mange malerier etterlot Auguste de Creuse?Avslør svaret

Vår katalog inneholder 8 verk av Auguste de Creuse, datert fra 1837 til 1839.

I hvilke museer henger mesterverkene til Auguste de Creuse?Avslør svaret

Hovedsakelig i Château de Versailles (Versailles). Museumslisten ovenfor viser alle.

Hva er de første og de siste kjente originalverkene til Auguste de Creuse?Avslør svaret

På denne siden er det eldste Portrait of Susanne de Baudéan (1625-1700) (1837) og det nyeste Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini (1839).

Hvilke verk av Auguste de Creuse stilles ut på Château de Versailles?Avslør svaret

Portrait of Susanne de Baudéan (1625-1700), Portrait of Louise Françoise Bouthillier de Chavigny, traditionally identified as Laure Mancini og EUGENE ADELAIDE LOUISE D'ORLEANS, MADAME ADELAIDE (1777 1847): Château de Versailles, Versailles har 4 av verkene på denne siden.

Auguste de Creuse: liv og virke

The Luminous Legacy of Auguste de Creuse

In the grand, sweeping tapestry of nineteenth-century French painting, certain names shine with an enduring brilliance, while others flicker like a candle in a drafty corridor, leaving behind only a hauntingly beautiful afterglow. Auguste de Creuse, born Jean-Pierre Decreuse, belongs to that poignant second category. A master of the portrait, his life was a brief but intense burst of artistic vitality that spanned from his birth in Montrond-le-Château in 1806 to his untimely passing in Paris in 1839. Though his career was tragically truncated at the age of thirty-three, the works he left behind serve as elegant windows into the soul of a bygone era, capturing the quiet dignity of the aristocracy and the storied grandeur of French history.

The trajectory of Creuse’s talent was irrevocably shaped by his time at the École Supérieure des Beaux-Arts in Paris. It was here that he came under the tutelage of the formidable Antoine-Jean Gros, a mentorship that would become the cornerstone of his aesthetic identity. From Gros, Creuse inherited more than just technical proficiency; he absorbed a profound reverence for historical narrative and an almost surgical precision in detail. This lineage is evident in his ability to weave together the monumental scale of history with the intimate nuances of individual character, creating canvases that feel both epic and deeply personal.

A Mastery of Light and Lineage

To observe a portrait by Creuse is to enter a world defined by a restrained yet evocative palette. Eschewing the garish or the overly dramatic, he favored a sophisticated arrangement of muted browns, warm ochres, and soft creams. This deliberate choice of color allowed him to master the art of sfumato and subtle tonal gradations, employing thin, delicate layers of paint to achieve a luminous quality that seems to emanate from within the subjects themselves. His brushwork, remarkably fine and controlled, captured the tactile reality of silk, lace, and velvet, lending his aristocratic sitters an air of timeless grace.

His technical prowess was not merely reserved for contemporary faces; Creuse possessed a unique ability to breathe life into the ghosts of France's past. His repertoire included:

  • Royal Portraits: He achieved significant recognition for his depictions of the House of Orléans, including works featuring the young Louis-Philippe, which found prestigious homes in the Châteaux of Versailles and Trianon.
  • Historical Figures: Creuse demonstrated a remarkable capacity for historical reconstruction, painting legendary figures such as Jean Bart and the Duchesse de Belleval.
  • The Monarchs of Old: His involvement in the series commissioned by Louis Philippe I for the Musée historique de Versailles allowed him to portray medieval and Renaissance icons, including Louis IX (Saint Louis) and Catherine de Médicis.

An Enduring Impression

The historical significance of Auguste de Creuse lies in his role as a bridge between the classical traditions of the early nineteenth century and the burgeoning romanticism of his era. While he operated within the established frameworks of his mentors, his sensitivity to psychological depth pushed his portraiture beyond mere likeness. He sought to reveal the character beneath the velvet, the humanity beneath the crown. Though his death in 1839 silenced his brush, the echoes of his talent remain preserved in the halls of Versailles and the collections of art historians worldwide. He remains a vital figure for anyone seeking to understand the elegance, the precision, and the profound emotional resonance of French portraiture during one of its most transformative centuries.