Обновлено Ноябрь 2026 · рейтинг на основе нашего показателя популярности (количество поисковых запросов, посещений и заказов для каждой работы) · 21 работ Louis Lafitte в нашем каталоге
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Из всех оригинальных работ, оставленных Louis Lafitte, самой известной является A Dying Warrior (1795). Сразу за ними следуют General Servan (1741-1808) (1800) и Prairial , ninth month of the Republican Calendar. В нашем каталоге представлено 21 работ Louis Lafitte; галерея сохранила 21 самых почитаемых в мире произведений, каждое из которых сопровождается датой создания, информацией о музее и своей историей.
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 CalendarМузей Плантен-Моретус
20
Le Vengeur Du Peuple' Sinking At The Battle Of.
21
Brutus Listening To The Ambassadors From The TarquinsЛос-Анджелесский музей округа Лос-Анджелес
Четыре темы, которые чаще всего встречаются в этих оригиналах, каждая из которых представлена своим лучшим образцом.
3 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Louis Lafitte | Картины из этого списка |
|---|---|---|---|
 Музей Карнавале |
Париж | 1 | General Servan (1741-1808) |
 Музей Плантен-Моретус |
Антверпен | 1 | Brumaire , Second Month Of The Republican Calendar |
 Лос-Анджелесский музей округа Лос-Анджелес |
Лос-Анджелес | 1 | Brutus Listening To The Ambassadors From The Tarquins |
Работы Louis Lafitte, представленные в этой подборке, охватывают лишь 6 лет — с 1795 по 1800: краткий обзор карьеры, представленный по годам.
Выберите год, чтобы увидеть оригиналы.
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). Далее следуют General Servan (1741-1808) (1800) и Prairial , ninth month of the Republican Calendar.
25 лет: A Dying Warrior датируется 1795 годом, а Louis Lafitte родился в 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) и Pluviose fifth month of the Republican Calendar. В рейтинге выше указаны год создания и музей для каждой работы.
В нашем каталоге представлено 21 работ Louis Lafitte, созданных в период с 1795 по 1800.
В основном в Музей Карнавале (Париж), Музей Плантен-Моретус (Антверпен) и Лос-Анджелесский музей округа Лос-Анджелес (Лос-Анджелес). В таблице выше перечислены все музеи.
На этой странице самая ранняя работа датирована A Dying Warrior (1795), а самая поздняя — General Servan (1741-1808) (1800).
Neoclassicism, судя по оригиналам на этой странице.
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.
