Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 34 dielov umelca Adélaïde Labille-Guiard v našom katalógu
Stručne povedané
Portrait of Madame de Genlis (1790) je obrazom umelca Adélaïde Labille-Guiard, ktorý priťahuje najviac pohľadov; originál sa nachádza v múzeu Los Angeles County Museum of Art, Los Angeles. Potom sa pohľad presunie na Self-Portrait with Two Pupils (1785) a Portrait of a Woman (1793). Z 34 diel umelca Adélaïde Labille-Guiard v našom katalógu je týchto 34 najznámejších; každá z nich je jedinečným originálom prezentovaným s jeho rokom vzniku, múzeom a dôvodom, prečo pretrváva.
The Portrait of Madame de Genlis is a work by the French artist Adélaïde Labille-Guiard. Executed in 1790, this oil on canvas depicts Stéphanie Félicité, comtesse de Genlis. The subject was a French writer active during the late 18th and early 19th centuries.
Step closer to observe the quiet authority within this large-scale oil on canvas. Here, Adélaïde Labille-Guiard places herself at the center of her own professional narrative, seated before an easel in a way that suggests both stability and command. The composition follows a triangular structure, with the artist anchoring the left side while two of her pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond, lean in from the right. There…
is an oil painting by the French artist Adélaïde Labille-Guiard. Executed in 1793, the work presents an elegant and dignified subject in a three-quarter view. The composition is presented in an oval format, a common choice for portraiture of this period.
In the Portrait of Mme. Clodion geb. Pojou by Adélaïde Labille-Guiard, an aristocratic woman occupies the center of the frame. She is positioned in a three-quarter view, her presence anchored against a dark, indistinct background. This placement pushes her figure forward, making her the singular focus of the composition. The sitter carries a sense of poise, her gaze and posture suggesting a quiet, steady presence within the space.
An elegant bust-length portrait, rendered in oil on canvas, captures a woman in an oval composition. Set against a dark, atmospheric background, the subject emerges through a sophisticated use of chiaroscuro. The lighting, directed from the upper left, casts gentle shadows across her features, emphasizing the three-dimensional form of her face and neck. Her expression remains calm and poised, conveying a sense of aristocratic grace through a subtle, enigmatic gaze.
This intimate 18th-century portrait miniature is presented in an oval format. The composition features two figures: a woman in the foreground, positioned slightly to the left and facing the viewer, and a man in the background, positioned to the right, appearing as if he is being painted on a canvas within the scene. The color palette is sophisticated and muted, dominated by soft lavenders, greys, whites, and earthy tones, with…
The gaze of the sitter meets us in Portrait de Joseph Benoît Suvée, a formal portrait painted by Adélaïde Labille-Guiard. This work, dating to 1783, captures the likeness of Joseph Benoît Suvée with a sense of quiet, aristocratic dignity. The subject sits poised, his presence defined by the careful rendering of his features and the subtle textures of his attire. There is a stillness here, as if the moment of…
The oil on canvas work titled Mme Dugazon in the role of Babet was executed by the French artist Adélaïde Labille-Guiard. This portrait dates to about 1782. The subject is presented in a specific costume, which indicates a theatrical theme related to a character performance.
Presented in an oval format, the composition focuses on the head and upper torso of the subject. She is styled with an elaborate, high-piled powdered wig, which is adorned with pearls. A single pink rose is tucked near her shoulder, providing a point of organic color against the textures of her attire.
In the 1784 Portrait of the Princess of Béthune, Adélaïde Labille-Guiard presents a young woman within an elegant oval format. The composition focuses on the subject from the chest up, a bust-length arrangement that brings her presence close to the viewer. She emerges from a dark, mottled teal-green background, a choice that pushes her pale complexion and luminous attire into sharp relief. The stillness of the scene feels heavy with…
The Painter Joseph Vernet in 17821782 · Musée Calvet
12
Portrait of Philiberte-Orléans Perrin de Cypierre, Countess of Maussion1787 · Musée Cognacq-Jay
13
The Princess of Montléar1790 · Collection Bemberg
14
Study of a Seated Woman Seen from Behind1789 · Metropolitné múzeum umenia
15
Elisabeth-Philippe-Marie-Hélène of France, known as Madame Elisabeth (1764-1794)1788 · Château de Versailles
16
Marie-Adélaïde of France, known as Madame Adélaïde1787 · Opera House
17
Portrait of Duchesse d'Aiguillon1790
18
Madame Victoire of France1788 · Château de Versailles
19
Portrait of Madame la comtesse de Lameth1790
20
Monsieur Meunier1798 · Honolulu Museum of Art
21
Portrait of Physician Jacques Charles1798 · Bibliothèque de l'Institut de France
22
LE PEINTRE FRANCOIS ANDRE VINCENT (1746 1816)Louvre
23
Portrait of a ManDallas Museum of Art
24
Portrait of a Young Woman Leaning on a Statue of Cupid, Traditionally Called, Mme Papillon de la FertéChâteau de Rambouillet
25
portrait of Gaspard Gilbert Delamalle
26
MARIE ADELAIDE DE FRANCE, DITE MADAME ADELAIDE (1732 1799)
27
MARIE THERESE LOUISE VICTOIRE DE FRANCE, DITE MADAME VICTOIRE (1733 1799)
28
CHARLES ROGER, PRINCE DE BAUFFREMONT (1713 1795)
29
ELISABETH PHILIPPINE MARIE HELENE DE FRANCE, MADAME ELISABETH (1764 1794)
30
CHARLES AMEDEE PHILIPPE VAN LOO (1719 1795)
31
Madame de Selve faisant de la musique1787
32
Head of a Young Woman1779 · J. Paul Getty Museum
33
Portrait of a Woman1787 · Musée des Beaux-Arts de Quimper
34
LOUISE ELISABETH DE FRANCE, DUCHESSE DE PARME (1727 1759)Château de Versailles
Štyri témy, ktoré sa v týchto origináloch najčastejšie vracajú, každá s jej najvychybenejším príkladom.
8 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Adélaïde Labille-Guiard | Obrazy z tohto zoznamu |
|---|---|---|---|
 Château de Versailles |
Versailles | 3 | Elisabeth-Philippe-Marie-Hélène of France, known as Madame Elisabeth (1764-1794), Madame Victoire of France, LOUISE ELISABETH DE FRANCE, DUCHESSE DE PARME (1727 1759) |
 Metropolitné múzeum umenia |
New York | 2 | Self-Portrait with Two Pupils, Study of a Seated Woman Seen from Behind |
 Los Angeles County Museum of Art |
Los Angeles | 1 | Portrait of Madame de Genlis |
 National Museum of Women in the Arts |
Washington, D.C. | 1 | Portrait of a Woman |
 Musée des Beaux-Arts |
Carcassonne | 1 | Portrait of a woman |
 Národné múzeum |
Stockholm | 1 | Madame Lefranc Painting the Portrait of her Husband Charles Lefranc |
 Groeningemuseum |
Brugge | 1 | Portrait de Joseph Benoît Suvée |
 Finnish National Gallery |
Helsinki | 1 | Mme Dugazon in the role of Babet |
Vyberte si dekádu a pozrite si originál, ktorý ju definuje.
This intimate 18th-century portrait miniature is presented in an oval format. The composition features two figures: a woman in the foreground, positioned slightly to the left and facing the viewer, and a man in the background, positioned to the right, appearing as if he is being painted on a canvas within the scene. The color palette is sophisticated and muted, dominated by soft lavenders, greys, whites, and earthy tones, with…
Step closer to observe the quiet authority within this large-scale oil on canvas. Here, Adélaïde Labille-Guiard places herself at the center of her own professional narrative, seated before an easel in a way that suggests both stability and command. The composition follows a triangular structure, with the artist anchoring the left side while two of her pupils, Marie-Gabrielle Capet and Marie-Marguerite Carreaux de Rosemond, lean in from the right. There…
The Portrait of Madame de Genlis is a work by the French artist Adélaïde Labille-Guiard. Executed in 1790, this oil on canvas depicts Stéphanie Félicité, comtesse de Genlis. The subject was a French writer active during the late 18th and early 19th centuries.
Portrait of Madame de Genlis (1790), Los Angeles County Museum of Art, Los Angeles. Nasledujú Self-Portrait with Two Pupils (1785) a Portrait of a Woman (1793).
41 rokov: Portrait of Madame de Genlis vzniklo v roku 1790 a Adélaïde Labille-Guiard sa narodil/a v roku 1749.
Portrait of Madame de Genlis, Self-Portrait with Two Pupils, Portrait of a Woman, Portrait of Mme. Clodion geb. Pojou, Portrait of a woman, Madame Lefranc Painting the Portrait of her Husband Charles Lefranc, Portrait de Joseph Benoît Suvée, Mme Dugazon in the role of Babet, Portrait of Helena Apolonia Potocka née Massalska (1763-1815) a Portrait of the Princess of Béthune. Vyššie uvedené hodnotenie uvádza rok a múzeu pre každé z nich.
Náš katalóg obsahuje 34 diel od umelca Adélaïde Labille-Guiard z perioda od 1779 do 1798.
Väčšinou v Château de Versailles (Versailles), Metropolitné múzeum umenia (New York) a Los Angeles County Museum of Art (Los Angeles). Tabuľka múzeí vyššie ich všetky uvádza.
V období 1780s: 15 z 34 diel na tejto stránke bolo vytvorených vtedy, pričom Self-Portrait with Two Pupils z nich.
Na tejto stránke je najstaršie dielo z Madame Lefranc Painting the Portrait of her Husband Charles Lefranc (1779) a najnovšie z Monsieur Meunier (1798).
Woman (18), Lace (9) a Man (6), v rámci 34 diel na tejto stránke.
Oil On Canvas, pre 16 z 34 diel na tejto stránke.
Neoclassicism a Rococo, podľa originálov na tejto stránke.
Elisabeth-Philippe-Marie-Hélène of France, known as Madame Elisabeth (1764-1794), Madame Victoire of France a LOUISE ELISABETH DE FRANCE, DUCHESSE DE PARME (1727 1759): múzeá Château de Versailles, Versailles uchovávajú 3 z diel na tejto stránke.
Cesta Adélaïde Labille-Guiard v parížskom umeleckom prostredí bola poznačená tak triumfami, ako aj neustálejšími prekážkami. Rýchlo si získala uznanie svojimi miniatúrnymi portrétmi, ktoré vystavovala v roku 1767 v Académie de Saint-Luc, čo predstavovalo zásadný kamenný mínik pre každého mladého umelca, a obzvlášť pre ženu v tej dobe. Napriek tomuto počiatočnému úspechu však čelila značnému odporu zo strany uestablishedovaných mužských umelcov, ktorí dominovali akademii. Vtedajší panujúci názor, že ženy sú vrodeno nezodpovedné za ovládnutie zložitých umeleckých techník a že im chýba intelektuálna disciplína potrebná pre vážne maliarstvo, vytváral obrovské bariéry pre ich ďalší postup. Talent a odhodlanie Adélaïde Labille-Guiard sa však nedali potlačiť. S neústretnosťou pokračovala v štúdiách, neustále si precvičovala svoje zručnosti a postupne si budovala verné klientely. Zlomový moment nastal v roku 1783, keď bola prijatá do Académie Royale de Peinture et de Sculpture – tento historický úspech ju označil ako jednu z prvých žien, ktoré získali plné akademické uznanie v tejto prestížnej inštitúcii. Toto prijatie však nebolo bez obetí, keďže sa spájalo s obmedzeniami, vrátane restriktívneho rozmeru jej štúdia a požiadavky, aby sa primárne venovala výhradne portrétnej tvorbe.
