Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 110 obras de Albert Besnard em nosso catálogo
Em resumo
Aos olhos da galeria, a pintura mais famosa de Albert Besnard é Morphine Addicts (1887), cuja obra original está exposta no Metropolitan Museum of Art, em Nova York. Woman's Head (1890) e Pony (1892) completam o trio que todos reconhecem. Dos 110 trabalhos de Albert Besnard em nosso catálogo, a galeria apresenta abaixo as 100 obras mais famosas, cada uma original, com seu ano, seu museu e o que a torna única.
Two women sit within the sterile confines of a laboratory, their forms caught in a pale, diffused light. The scene is quiet, heavy with a stillness that feels almost medicinal. One woman gazes directly at the viewer, her eyes carrying a weight of resignation, while her companion looks downward, lost in a private, hollowed thought. Between them, a table holds the cold geometry of scientific glassware, its transparent surfaces catching…
A single female figure occupies the frame, her head tilted in a moment of quiet repose. The composition is an intimate crop, pulling the viewer into the private space of her shoulders and face. Soft, diffused light enters from the upper left, tracing the curve of her neck and the delicate planes of her skin. This illumination creates a gentle depth, casting shadows that define her form without the need…
A single horse stands against a rustic wooden fence. The animal lifts its head, peering over the timber slats with a quiet, searching posture. Beside it, a second form remains partially obscured, a shadow of movement caught in the grain of the wood. The scene is rendered in the stark, precise language of a black and white etching. Every line of the fence and every contour of the horse's neck…
In this 1890 etching, we find a moment of profound stillness within the Besnard household. The composition focuses on four figures, captured in a state of quiet intimacy that feels almost private, as if we have stumbled upon a fleeting glance in a private sitting room. Madame Besnard is positioned in the lower left foreground, her profile offering a sense of calm stability. Behind her, the forms of their daughter,…
This oil on panel portrait depicts André-Charles Coppier in a three-quarter profile. The subject is an older man seated and facing the viewer directly. He wears a heavy, dark coat that absorbs much of the light. His hair and mustache are rendered with thick, visible brushstrokes that suggest texture and volume. The lighting originates from the upper left, casting shadows across the right side of his face and defining the…
The scene captured by this evocative work, "The Visitor," invites the viewer into an intimate moment suspended just outside the frame of time. It is not merely a depiction of people gathered at a table; it is a study in anticipation, a quiet drama unfolding under the soft wash of diffused light. The composition centers around a palpable tension—the arrival or observation of the 'Visitor' amidst a group already settled…
In this 1877 oil on canvas, a man is seated in a three-quarter length pose, turned slightly toward his right. He does not meet the viewer's gaze but looks away, his eyes directed toward an unseen point beyond the frame. The subject wears a dark, heavy suit, likely navy or black, which absorbs much of the light. His facial features are defined by soft contours and a well-groomed beard. A…
The air in the room thickens with the sudden, sharp tension of a life being extinguished. A man, Timophanes, is caught in the middle of a fatal struggle, his body reacting to the sudden intrusion of violence. A raised sword cuts through the space, its edge directed toward the central figure who is being struck down. The composition pulls the eye along diagonal lines formed by flailing limbs and the…
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding is a work by the French painter Paul Albert Besnard. Created about 1880, this piece functions as a preparatory study for a larger commission intended for the Mairie of the 19th Arrondissement of the Ville de Paris.
In Paul Albert Besnard's Portrait of Francis Magnard, the viewer meets the subject through a steady, eye-level perspective that establishes an immediate, quiet connection. The composition centers on a medium shot of the man, who sits slightly off-center within a somber interior. To the left, a dark architectural element, resembling a column, anchors the space, while to the right, a dimly lit doorway or hallway recedes into the shadows. This…
Sketch for the Mairie du 4ème: The Return of the Fields1884 · Petit Palais
12
Sketch for the Mairie du 4ème: July 14, 18801884 · Petit Palais
13
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor1880 · Petit Palais
14
Sketch for the wedding hall of the town hall of the 19th arrondissement of the Ville de Paris: The Triumph of the Republic (Ceiling)1880 · Petit Palais
15
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Winter1880 · Petit Palais
16
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn1880 · Petit Palais
17
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer1880 · Petit Palais
18
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement: Spring1880 · Petit Palais
19
Madeleine Lerolle and Her Daughter Yvonne1879 · Cleveland Museum of Art
20
The First Morning (Albert and Charlotte Dubray Besnard and their Son, Robert)1881 · Museu de Arte do Condado de Los Angeles
21
Sketch for the Wedding Hall of the Mairie du 1er: Winter, or The Evening of Life1886 · Petit Palais
22
Sketch for the Wedding Hall of the Mairie du 1er: Summer, or the Midlife1886 · Petit Palais
23
Sketch for the Wedding Hall of the Mairie du 1er: Spring or the Morning of Life1886 · Petit Palais
24
Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Electricity1890 · Petit Palais
25
Sketch for the Hôtel de Ville de Paris: Truth Leading the Sciences in Her Wake Spreads Her Light upon Men (Ceiling)1890 · Petit Palais
26
Portrait of Madame Besnard, née Charlotte Dubray (1854-1931)1890 · Musée Carnavalet
27
Nude Holding Her Leg1886
28
In the Embers1887
29
Portrait of Marcel Bing (2 fragments before restoration)1895 · Petit Palais
30
The First Performance of Hernani, 18301905 · Musée Victor Hugo
31
The Siesta1905 · Cleveland Museum of Art
32
La Biarrote1901
33
Musician (musicienne)1900
34
Portrait of Camille Barrère at Palazzo Farnese1906 · Petit Palais
35
On the Bridge of Trichinopoly (India)1911 · Petit Palais
36
Four Panels: The Decoration of the Dome of the Vestibule d'Honneur of the Petit Palais1906 · Petit Palais
37
Thought1908 · Petit Palais
38
Amorous Conversation1913
39
Cardinal Mercier1916
40
Horse Market in Algiers1925
41
Portrait de Jean-Louis Vaudoyer (1883-1963)1932 · Musée Carnavalet
42
Le vestibule d’entrée du Petit Palais décorée par Albert Besnard -Petit Palais
43
Horses1894 · Metropolitan Museum of Art
44
Sadness (tristesse)1877
45
Sketch for the Mairie du 4ème: The Ball in the City or The Social Party1884 · Petit Palais
46
Sketch for the Mairie du 4ème: The Ball in the Countryside or The Popular Festival1884 · Petit Palais
47
Sketch for the Mairie du 4ème: The Apple Picking1884 · Petit Palais
48
Sketch for the Mairie du 4ème: July 14, 17901884 · Petit Palais
49
A Martyr1883
50
Iza Sleeping1885
51
Neuilly Fair1885
52
La Muse Accoudée1884
53
Madame Besnard1884
54
Dying Woman (la Mourante)1885
55
Model Asleep on the Floor1885
56
Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Meteorology1890 · Petit Palais
57
Horses bitten by flies.1892 · The National Museum in Poznań
58
Eve1886
59
Intimacy1889
60
La Femme1886
61
Bathing at Talloires1888
62
Robert Besnard and His Donkey1888
63
Apotheosis1886
64
Prostitution1886
65
Eve Before the Apple Tree1892
66
Nude Woman by a Looking Glass1889
67
Melancholy (mélancolie)1888
68
Self-portrait1893
69
Coquette1900
70
Love Consecrated1900
71
In the Crowd1900
72
Discreet (discrète)1900
73
Confidences1900
74
Indifferent1900
75
Madeleine Lemaire1900
76
Intimate Fantasy1901
77
Danger Passed1900
78
Cast of a Net (le Coup De Filet)1900
79
Zebu Team in India, Study1910 · Musée des Beaux-Arts de Pau
80
The Mystic, Sketch of the Overall Composition1908 · Petit Palais
81
Un Soir
82
Edmond Pigalle1908
83
Garnet Joseph WolseleyNational Portrait Gallery
84
Bather with Child and Swan by the Sea
85
Margaret Wilhelmina Ames
86
Le femme aux cheveux roux
87
Portrait de Madame Georges Rodenbach
88
Georges Clemenceau1917
89
Getting up1913
90
Going to Bed1913
91
Leda Sleeping1913
92
Gabriele D'annunzio1917
93
Leda Bathing (léda Au Bain)1913
94
Auguste Rodin1922
95
Birth Announcement for Anne-élisabeth Besnard1922
96
Back of a Woman, Study1924 · Musée des Beaux-Arts de Rouen
97
Le Biarotte1929
98
Carmen Standing in the Nude
99
Peacock Feathers
100
Matinée d'été
#9 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding
#13 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor
#16 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn
#17 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer
Os quatro temas que mais se repetem nestas obras originais, cada um com o seu melhor exemplo.
#2 Woman's Head
#11 Sketch for the Mairie du 4ème: The Return of the Fields
#13 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor
#15 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Winter
#12 Sketch for the Mairie du 4ème: July 14, 1880
#14 Sketch for the wedding hall of the town hall of the 19th arrondissement of the Ville de Paris: The Triumph of the Republic (Ceiling)
#16 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn
#17 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer
Os 8 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Albert Besnard | Pinturas desta lista |
|---|---|---|---|
 Petit Palais |
Paris | 29 | Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding, Portrait of Francis Magnard, Sketch for the Mairie du 4ème: The Return of the Fields |
 Metropolitan Museum of Art |
Nova York | 4 | Morphine Addicts, Family, The Visitor |
 Musée Carnavalet |
Paris | 3 | Portrait of André Wormser (1851-1926), Pianist and Composer, Portrait of Madame Besnard, née Charlotte Dubray (1854-1931), Portrait de Jean-Louis Vaudoyer (1883-1963) |
 Cleveland Museum of Art |
Cleveland | 2 | Madeleine Lerolle and Her Daughter Yvonne, The Siesta |
 Art Institute of Chicago |
Chicago | 1 | Woman's Head |
 Musée d'Orsay |
Paris | 1 | Portrait of André-Charles Coppier (1866-1948) |
 Museu de Arte do Condado de Los Angeles |
Los Angeles | 1 | The First Morning (Albert and Charlotte Dubray Besnard and their Son, Robert) |
 Musée Victor Hugo |
Paris | 1 | The First Performance of Hernani, 1830 |
Escolha uma década para ver a obra original que a define.
In this 1877 oil on canvas, a man is seated in a three-quarter length pose, turned slightly toward his right. He does not meet the viewer's gaze but looks away, his eyes directed toward an unseen point beyond the frame. The subject wears a dark, heavy suit, likely navy or black, which absorbs much of the light. His facial features are defined by soft contours and a well-groomed beard. A…
Two women sit within the sterile confines of a laboratory, their forms caught in a pale, diffused light. The scene is quiet, heavy with a stillness that feels almost medicinal. One woman gazes directly at the viewer, her eyes carrying a weight of resignation, while her companion looks downward, lost in a private, hollowed thought. Between them, a table holds the cold geometry of scientific glassware, its transparent surfaces catching…
A single female figure occupies the frame, her head tilted in a moment of quiet repose. The composition is an intimate crop, pulling the viewer into the private space of her shoulders and face. Soft, diffused light enters from the upper left, tracing the curve of her neck and the delicate planes of her skin. This illumination creates a gentle depth, casting shadows that define her form without the need…
This oil on panel portrait depicts André-Charles Coppier in a three-quarter profile. The subject is an older man seated and facing the viewer directly. He wears a heavy, dark coat that absorbs much of the light. His hair and mustache are rendered with thick, visible brushstrokes that suggest texture and volume. The lighting originates from the upper left, casting shadows across the right side of his face and defining the…
On the Bridge of Trichinopoly (India) is an oil painting by the French painter and printmaker Paul Albert Besnard. Created about 1911, this work emerged from a period when the artist was exploring the effects of light and atmosphere following a visit to India. The piece captures a specific moment of communal movement, rendered with a focus on the rhythmic patterns of daily life.
The scene unfolds within the bustling atmosphere of a horse market in Algiers. In this moment, the air feels thick with the energy of commerce and the movement of animals. Paul Albert Besnard captures a specific slice of life from about 1925, freezing a period of intense activity where horses of various sizes gather amidst the trade of the marketplace. The work, titled Horse Market in Algiers, presents a world…
In this 1932 oil portrait, we find ourselves in the private, scholarly sanctuary of Jean-Louis Vaudoyer. The subject is positioned in a medium close-up, slightly off-center, which lends a natural, unforced quality to the composition. He is a man of letters, captured in a moment of quiet contemplation amidst the receding planes of a library. The atmosphere is one of profound stillness, where the weight of knowledge is felt through…
Morphine Addicts (1887), Metropolitan Museum of Art, Nova York. Woman's Head (1890) e Pony (1892) vêm a seguir.
38 anos: Morphine Addicts data de 1887, e Albert Besnard nasceu em 1849.
Morphine Addicts, Woman's Head, Pony, Family, Portrait of André-Charles Coppier (1866-1948), The Visitor, Portrait of André Wormser (1851-1926), Pianist and Composer, The Death of Timophanes, Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding e Portrait of Francis Magnard. O ranking acima apresenta o ano e o museu de cada uma.
Nosso catálogo contém 110 obras de Albert Besnard, datadas de 1874 a 1932.
Principalmente em Petit Palais (Paris), Metropolitan Museum of Art (Nova York) e Musée Carnavalet (Paris). A tabela de museus acima lista todos eles.
Em 1880s: 37 das 100 obras nesta página foram feitas então, sendo Morphine Addicts delas.
Nesta página, a mais antiga é The Death of Timophanes (1874) e a mais recente é Portrait de Jean-Louis Vaudoyer (1883-1963) (1932).
Woman (15), Figures (11) e Man (10), entre as 100 obras nesta página.
Etching, para 11 das 100 obras nesta página.
Impressionism, a julgar pelos originais nesta página.
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding, Portrait of Francis Magnard e Sketch for the Mairie du 4ème: The Return of the Fields: o Petit Palais, Paris detém 27 das obras desta página.
Paul Albert Besnard (1849-1934) ergue-se como uma figura singular na tapeçaria da arte francesa, um pintor que navegou pelas marés mutáveis do final do século XIX e início do século XX com uma graça única e inclassificável. Nascido em Paris, sua jornada artística começou dentro dos limites rigorosos da École des Beaux-Arts, onde estudou sob a tutela de Jean Bremond. Seu desenvolvimento inicial foi profundamente moldado pelo realismo meticuloso de Alexandre Cabanel, uma influência que proporcionou a Besnard uma base acadêmica disciplinada. No entanto, sob esse treinamento clássico, pulsava o coração de um modernizador, alguém que eventualmente ultrapassaria as fronteiras rígidas da tradição para abraçar a beleza efêmera da luz e da atmosfera.
À medida que sua carreira amadurecia, Besnard começou a construir uma ponte entre o mundo estruturado da pintura acadêmica e as explorações vibrantes e sensoriais do Impressionismo. Embora não tenha abandonado totalmente a forma em favor da abstração pura, ele se tornou um mestre da cor, utilizando uma paleta que parecia simultaneamente luminosa e profundamente emotiva. Sua obra é caracterizada por uma fascinação inabalável pela maneira como a luz interage com as superfícies, seja na pele delicada de um retrato ou nas vastas extensões arquitetônicas de seus maiores encargos. Essa habilidade de unir o monumental ao íntimo permitiu-lhe transcender os rótulos de sua era, criando um estilo que se sente ao mesmo tempo atemporal e surpreendentemente contemporâneo.
O verdadeiro gênio de Besnard era talvez mais visível em sua capacidade de traduzir sensibilidades modernas para uma escala decorativa grandiosa. Ele não apenas pintava quadros; ele transformava espaços. Seus ambiciosos afrescos, que adornam algumas das instituições mais prestigiadas da França, serveam como um testemunho de sua visão da arte como uma experiência pública e imersiva. Essas obras podem ser encontradas em locais como:
Nesses empreendimentos massivos, Besnard evitou as estéticas excessivamente dramáticas ou teatrais favorecidas por muitos de seus contemporâneos. Em vez disso, utilizou uma abordagem mais sutil e atmosférica que permitia à luz guiar o olhar do espectador, garantindo que mesmo as composições mais grandiosas retivessem um senso de intimidade poética e profundidade espiritual.
Além das vistas panorâmicas de seus afrescos, Besnard foi um criador prolífico de obras muito mais pessoais. Ele possuía uma capacidade extraordinária de capturar a essência psicológica de seus temas através do óleo, aquarela, pastel e gravura. Seus retratos são celebrados não apenas por sua precisão técnica, mas por sua profunda ressonância emocional. Em sua representação de Madame Georges Rodenbach, encontra-se uma exploração audaciosa da beleza que desafia as normas convencionais, exibindo sua habilidade em renderizar texturas e caracteres com igual fervor.
Sua versatilidade como gravador e desenhista permitiu-lhe experimentar o jogo de luz e sombra em uma escala muito mais delicada. Seja capturando a presença real de O Rei e a Rainha da Bélgica ou a quietude de uma paisagem, a obra de Besnard permanece ancorada por uma influência que remete a Thomas Gainsborough — uma certa elegância e fluxo rítmico que eleva o tema tratado. Em última análise, a importância de Paul Albert Besnard reside nesta própria dualidade: ele foi um artista capaz de comandar os maiores salões da França enquanto capturava, simultaneamente, os sussurros mais fugazes e delicados da luz.
