Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 34 del v našem katalogu avtorja Adélaïde Labille-Guiard
Kratek opis
Portrait of Madame de Genlis (1790) je slika avtorja Adélaïde Labille-Guiard, ki pritegne največ pogledov; original se nahaja v muzeju Los Angeles County Museum of Art, Los Angeles. Nato se pogled smeri k Self-Portrait with Two Pupils (1785) in Portrait of a Woman (1793). Med 34 dela umetnika Adélaïde Labille-Guiard v našem katalogu so ta 34 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
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 · Metropolitanski muzej umetnosti
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
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Adélaïde Labille-Guiard | Slike iz tega seznama |
|---|---|---|---|
 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) |
 Metropolitanski muzej umetnosti |
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 |
 Nationalmuseum |
Stockholm | 1 | Madame Lefranc Painting the Portrait of her Husband Charles Lefranc |
 Groeningemuseum |
Bruge | 1 | Portrait de Joseph Benoît Suvée |
 Finnish National Gallery |
Helsinki | 1 | Mme Dugazon in the role of Babet |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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. Zatem sledeta Self-Portrait with Two Pupils (1785) in Portrait of a Woman (1793).
41 let: delo Portrait of Madame de Genlis iz leta 1790, Adélaïde Labille-Guiard pa je bil/a rojen/a leta 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) in Portrait of the Princess of Béthune. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 34 del avtorja Adélaïde Labille-Guiard, datiranih od 1779 do 1798.
Večini v Château de Versailles (Versailles), Metropolitanski muzej umetnosti (New York) in Los Angeles County Museum of Art (Los Angeles). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1780s: 15 od 34 del na tej strani je bilo izdelovanih takrat, med njimi pa Self-Portrait with Two Pupils.
Na tej strani je najstarejše delo iz Madame Lefranc Painting the Portrait of her Husband Charles Lefranc (1779) in najstarejše iz Monsieur Meunier (1798).
Woman (18), Lace (9) in Man (6), na 34 delih na tej strani.
Oil On Canvas, za 16 od 34 del na tej strani.
Neoclassicism in Rococo, glede na originala na tej strani.
Elisabeth-Philippe-Marie-Hélène of France, known as Madame Elisabeth (1764-1794), Madame Victoire of France in LOUISE ELISABETH DE FRANCE, DUCHESSE DE PARME (1727 1759): v muzeju Château de Versailles, Versailles se nahaja 3 del z te strani.
Adélaïde Labille-Guiard je bila v pariškem umetnostnem okolju prepoznavna skozi nenehno prepletavanje triumfov in neustrašnih ovir. Njena pot se je začela z hitrim prepoznavanjem miniaturnih portretov, ki so s svojo občutljivostjo očarjali javnost; leta 1767 je svoja dela prvič razpostavila na Académie de Saint-Luc, kar je predstavljalo ključni mejnik za vsakega mlajega umetnika, še posebej za žensko v tistem obdobju. Kljub temu začetnemu uspehu se je soočala z močnim odporom ustanovljenih moških umetnikov, ki so v tistem času prevladovali v akademiji. Prevladovalo je prepričanje, da so ženske izročno nezmožne obvladati kompleksne umetnostne tehnike in da jim manjka intelektualna rigoroznost, ki je potrebna za resno slikarstvo, kar je ustvarilo nepremostljive ovire za njen napredek. Vendar pa se talent in neomajna odločnost Adélaïde Labille-Guiard niso dali potopiti. Z vztrajnostjo je nadaljevala z študijem, nenehno izpopolnjevala svoje veščine in postopoma gradila svojo strastno stranko. Ključni trenutek se je zgodil leta 1783, ko je bila sprejeta v prestižno Académie Royale de Peinture et de Sculpture—to je bil prelomni dosevek, ki jo je uveljavil kot eno prvih žensk, ki so v tej prestižni instituciji prejela polno akademsko priznanje. Ta sprejem je bil sicer poljen z nekaterimi omejitvami, vključno z omejenim prostorom za njen studio in zahtevo, da se primarno posvetuje portretiranju.
Delo Adélaïde Labille-Guiard zaziva z rafinirano eleganco in globoko psihološko vpoto. Njeni portreti niso le pogočevalni prikaz podobnosti; oni zajamejo samo bistvo njenih modelov, razkrivajoč njihove osebnosti, čustva in družbeni status. Posebej izjemna je bila pri portretiranju žensk, pri čemer je z vrhunsko veščino prikazovala teksture tkanin, niance izrazov in subtilne podrobnosti, ki so oblikovale njihove edinstvene identitete. Med njenimi najbolj slavnimi dzielem velja Samoportret z dvema učenki (1785), maestralna kompozicija, ki ne le izkazuje njene umetniške virtuoznosti, temveč služi tudi kot močan manifest o njeni predanosti negovanju ženskega umetniškega talenta. Slika prikazuje Adélaïde Labille-Guiard, kako sedi pred platnom in poučuje dve mladi žnovi v umetnosti portretiranja—tako vizualno podobo njene zagovajanja enakih možnosti v umetniškem svetu. Druga izpostavljena dela vključujejo portrete pomembnih postaci, kot sta Madame Adélaïde in Victoire, starejši sestri Ludika XVI., ter številne študije draperij, ki odražajo njeno tehnično znanje in izrazito oko za detajle.
