Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 344 del v našem katalogu avtorja Armand Guillaumin
Kratek opis
Place Valhubert (1872) je slika avtorja Armand Guillaumin, ki pritegne največ pogledov; original se nahaja v muzeju Musée d'Orsay, Pariz. Nato se pogled smeri k River Scene (1890) in Paris - Quai de la Rapee (1885). Med 344 dela umetnika Armand Guillaumin v našem katalogu so ta 100 najbolj znana; vsako je edinstven original, predstavljen z letnico nastanka, muzejem in razlogom za njegovo nečasenost.
The air in 1872 carries a chill that settles upon the riverbank. Snow has smoothed the edges of the city, coating the ground in a pale, quiet layer. Along the sidewalk, trees rise like dark, skeletal fingers against a sky of muted blue. They stand still, their bare branches etched sharply against the light. Beneath them, the world is a study in frost and movement.
Around 1890, the banks of the Seine became a stage for the tension between nature and the encroaching modern age. This work captures a bustling waterway where the quietude of leisure meets the grit of commerce. Several boats navigate the expanse—some barges laden with cargo, others smaller vessels drifting through calmer stretches. In the distance, the horizon is punctuated by the dark, vertical silhouettes of smoking factory chimneys, a subtle…
In this 1885 oil on canvas, we find ourselves positioned at the edge of the water, observing the industrial rhythm of the Quai de la Rapée. There is a certain weight to the scene, a sense of the heavy, working life that defined the Parisian riverfront during this period. A large cargo ship or barge dominates the left side of the composition, its massive form anchored in the midground, while…
Madame Guillaumin Reading is an oil on canvas painting created by the French artist Armand Guillaumin. Dated 1882, this work is an impressionist portrait of a young girl. The subject is positioned outdoors, seated amidst a landscape of tall grass and foliage. The composition focuses on the girl as the central figure, set against a background of trees and a distant landscape that provides a sense of depth through atmospheric…
The water of the harbor rests in muted blues and grays, a heavy expanse that mirrors a sky filled with drifting clouds. Boats sit moored in the middle ground, their dark, ochre hulls cutting through the shimmering surface. Along the shoreline, indistinct buildings rise like shadows against the horizon. The scene captures a quiet moment of transit and stillness at the Quai d'Austerlitz. Light filters through an overcast sky, casting…
A vase of flowers sits at the center of a wooden table, holding its position with a heavy, silent grace. Around this floral heart, the world is composed of everyday things: a suitcase tucked into the upper corner, a bowl, a cup, and several books. Two volumes rest near the bottom left, while another lies to the right. The scene is a study in stillness. A pair of blue gloves…
To gaze upon this portrait is to be invited into a moment suspended in time—a quiet afternoon steeped in the cultivated elegance of late 19th-century Parisian life. The subject, seated within an ornate chair, embodies a serene contemplation, her posture suggesting both intellectual engagement and profound repose. She is captured mid-activity, seemingly absorbed by the pages of a book, yet the surrounding details whisper tales of a richer, more decorative…
The Bouchardon Lock emerges from the brush of Armand Guillaumin, a painter whose life began in Paris, France, in 1841. This work, which appears in various records as about 1908, captures a specific moment of light and water. Guillaumin moves through the landscape with a hand that seeks the immediate sensation of the river and the valley. He remains a presence in the history of French painting until his death…
The river flows with a steady, rhythmic grace, carving its way through a rocky bed that catches the soft, diffused light of an overcast sky. Along the banks, the trees are heavy with the weight of the changing season, their leaves glowing in shades of golden yellow, orange, and pink. These bursts of color dominate the upper reaches of the scene, casting deep shadows of green, blue, and purple into…
In the quiet, contemplative depths of Self Portrait with Easel, we are invited into a private moment of creative gestation. Painted in 1878 by the French Impressionist master Ferdinand Guillaumin, this work serves as more than just a likeness; it is a window into the psychological landscape of a creator at work. The painting captures the artist seated before his easel, his gaze directed toward the viewer with an expression…
Rocks at Trayas1915
12
La Seine
13
The Arcueil Aqueduct at Sceaux Railroad CrossingArt Institute of Chicago
14
Nanteuil-sur-Marne1911
15
The Sand Quarry1895
16
Seaside at Agay1900
17
Self-Portrait1895 · Ohara Museum of Art
18
Paysage boise à l'étang
19
The Seine at Charenton1878 · Musée d'Orsay
20
Villiers-sur-Morin1905
21
Paysage de la Creuse 1
22
The Banks of the River
23
Madame Guillaumin Sitting in a Garden1890
24
Mill of Pont Maupuit1900 · Art Institute of Chicago
25
The Ruins of the Chateau at Crozant1899
26
Hollow in the snow1869 · Musée d'Orsay
27
Still Life with Casserole1867
28
The Seine at Paris (also known as Quai de la Rapee)1871 · Museum of Fine Arts
29
Painting1876 · Narodni muzej za umetnost, arhitekturo in dizajn
30
Quai de Bercy, circa 18741874 · Carnavalet Museum
31
Les Environs de Paris1874 · Birmingham Museum and Art Gallery
32
La Seine1874 · Fine Arts Museums of San Francisco
33
The Seine at Charenton1874 · Norton Simon Museum
34
The Bridge of Louis Philippe1875 · National Gallery of Art
35
Snow1876
36
Rue de Clamart at Vanves1873
37
Pont Marie, Quai Sully1878
38
The Seine1873
39
La Route Tournante1877
40
Portrait of a Young Woman1875
41
Damiette - Apple Trees1884 · Musée d'Orsay
42
The Path to the Valley1885 · Petit Palais
43
Painting1880 · Narodni muzej za umetnost, arhitekturo in dizajn
44
Quai de Bercy1881
45
Confluence of the Marne and the Seine, Île de France1885
46
Pont Marie from the Quai d'Anjou1883
47
Palaiseau - Snow Effect1883
48
Le Charrois au bord de la Seine1882
49
The Quay at Rouen1882
50
Quai de Bercey1880
51
Damiette (also known as Vallee de Chevreuse)1880
52
The Seine at Charenton1880
53
Quai Saint Bernard in the Snow1882
54
Laundry Boat at Charenton1880
55
The Little Thieves1885
56
Epinay-sur-Orge1884
57
Vase of Chrysanthemums1885
58
Saint-Palais, the Pointe de la Douane, August 92, 10 o'clock in the morning1892 · Petit Palais
59
Village in Ile-de-France1888
60
Woman and Child in Landscape1892 · Davis Museum and Cultural Center
61
Ile de France1888
62
Quay de Bercy1891
63
The Quay d'Austerlitz, Morning1886
64
Landscape at Breuillet1890
65
Pond with Willows, Îli-de-France1889
66
Le Pleteau Bromant a Pontgibaud (also known as Puy de Dome)1890
67
la Manche Landscape1890
68
Landscape - the Creuse in the Snow1890 · Musée du Petit Palais
69
Grainstacks1891 · Musée du Petit Palais
70
Damiette Landscape1890
71
Horses in the Sand at Ivry1891
72
The Rock Breaker1890 · Rhode Island School of Design Museum of Art
73
The Sea at Pointe de la Perriere, Saint-Palais1892
74
Small Valley at Pontgibaud1890
75
Sifting Sand1891
76
Passers-by in Paris in Winter1888
77
Portrait of Madame Guillaumin1892
78
Rock Cliff on the Baumette Headland1893 · Wallraf-Richartz-Museum
79
Rocks at Agay1895 · Petit Palais
80
Les ruines du château de Crozant1898 · Musée d'Unterlinden
81
Vallée de la Creuse1895 · Musée d'Unterlinden
82
Mountainous landscape1895 · Bavarske državne slikopisne zbirke
83
Grainstacks in Île-de-France1894 · Museum Barberini
84
View of Crozant1898
85
The Sea at Saint-Palais1895 · Wallraf-Richartz-Museum
86
The Ruins at Crozant1897
87
La Creuse Landscape1895
88
Madame Guillaumin Writing1894
89
Madame Guillaumin Reading in the Garden1895
90
Landscape in the Vicinity of Rouen1898
91
The Platin Rock at Saint-Palais1893
92
Child Eating Soup1894
93
Ile de France Landscape1895
94
Saint-Julien-des-Chazes, Allier1895
95
Orchard at the Edge of the Woods in Saint-Cheron1893
96
Snow at Crozant1898
97
Saint Palais, Pointe de la Perriere1893
98
Landscape - the Creuse1897
99
Sunset on the Creuse1898
100
Red Rocks1894
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 Armand Guillaumin | Slike iz tega seznama |
|---|---|---|---|
 Musée d'Orsay |
Pariz | 10 | Place Valhubert, The Seine at Charenton, Hollow in the snow |
 Petit Palais |
Pariz | 5 | The Path to the Valley, Saint-Palais, the Pointe de la Douane, August 92, 10 o'clock in the morning, Rocks at Agay |
 Musée du Petit Palais |
Ženeva | 3 | Portrait of Madame Guillaumin, Landscape - the Creuse in the Snow, Grainstacks |
 Wallraf-Richartz-Museum |
Köln | 3 | Rock Cliff on the Baumette Headland, The Sea at Saint-Palais |
 Musée d'Unterlinden |
Colmar | 3 | Les ruines du château de Crozant, Vallée de la Creuse |
 Art Institute of Chicago |
Chicago | 2 | The Arcueil Aqueduct at Sceaux Railroad Crossing, Mill of Pont Maupuit |
 Narodni muzej za umetnost, arhitekturo in dizajn |
Oslo | 2 | Painting, Painting |
 Indianapolis Museum of Art |
Indianapolis | 2 | The Quai d'Austerlitz |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
The air in 1872 carries a chill that settles upon the riverbank. Snow has smoothed the edges of the city, coating the ground in a pale, quiet layer. Along the sidewalk, trees rise like dark, skeletal fingers against a sky of muted blue. They stand still, their bare branches etched sharply against the light. Beneath them, the world is a study in frost and movement.
In this 1885 oil on canvas, we find ourselves positioned at the edge of the water, observing the industrial rhythm of the Quai de la Rapée. There is a certain weight to the scene, a sense of the heavy, working life that defined the Parisian riverfront during this period. A large cargo ship or barge dominates the left side of the composition, its massive form anchored in the midground, while…
Around 1890, the banks of the Seine became a stage for the tension between nature and the encroaching modern age. This work captures a bustling waterway where the quietude of leisure meets the grit of commerce. Several boats navigate the expanse—some barges laden with cargo, others smaller vessels drifting through calmer stretches. In the distance, the horizon is punctuated by the dark, vertical silhouettes of smoking factory chimneys, a subtle…
Seaside at Agay is a representation of the seaside at Agay, a quiet corner of the French coast. The artist Ferdinand Guillaumin captured this landscape in 1900. The work measures 73 x 92 cm. It exists as a window into a specific moment of light and salt air.
In the evocative masterpiece Rocks at Trayas, the French Impressionist Ferdinand Guillaumin invites viewers into a world where the raw power of nature meets the delicate nuances of light. Painted in 1915, this breathtaking oil on canvas captures a moment of profound serenity along the rugged coastline. The composition is anchored by a dramatic foreground of weathered rocks, their textures rendered with such tactile precision that one can almost feel…
Place Valhubert (1872), Musée d'Orsay, Pariz. Zatem sledeta River Scene (1890) in Paris - Quai de la Rapee (1885).
31 let: delo Place Valhubert iz leta 1872, Armand Guillaumin pa je bil/a rojen/a leta 1841.
Place Valhubert, River Scene, Paris - Quai de la Rapee, Madame Guillaumin Reading, The Quai d'Austerlitz, Still Life with Box with Blue Gloves, Portrait of Madame Guillaumin, The Bouchardon Lock, The Bouchardon Mill, Crozant in Self Portrait with Easel. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 344 del avtorja Armand Guillaumin, datiranih od 1867 do 1915.
Večini v Musée d'Orsay (Pariz), Petit Palais (Pariz) in Musée du Petit Palais (Ženeva). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1890s: 46 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa River Scene.
Na tej strani je najstarejše delo iz Still Life with Casserole (1867) in najstarejše iz Rocks at Trayas (1915).
Landscape (17), Trees (10) in River (6), na 100 delih na tej strani.
Oil On Canvas, za 19 od 100 del na tej strani.
Impressionism, glede na originala na tej strani.
Place Valhubert, The Seine at Charenton in Hollow in the snow: v muzeju Musée d'Orsay, Pariz se nahaja 4 del z te strani.
Rojen 16. februarja 1841 v Parizu kot Jean-Baptiste Armand Guillaumin, je človek, ki bo kasneje znan kot Ferdinand Guillaumin, svoje zgodnje leta preživeli v ravnovesju med delom in tiho strastjo do risanja. Preden se je popolnoma posvetil platnu, je delal v trgovini s spodnjo perjo pri svojem stricu. Ob večerih se je obhajal risarskih lekcij, da bi izostril svojo roko. Ta obdobje dela je prekinjalo delo v francoski državni železnici, služba, ki je predhodila njegovemu urbnemu vstopu v svet umetnosti.
Leta 1861 se je usmeril v bolj resno študiranje na Académie Suisse. Prav v teh stenah se je njegova pot prepletla s potjo, ki sta jo kročili Paul Cézanne in Camille Pissarro. Ti zgodnji stiki niso bili le prehodna znanstva; to so bili začetki življenjskih prijateljstev. Skupne izkušnje v studiu in lekcije, pridobljene v teh prostorih, so pomagale oblikovati smer njegovega kasnejšega dela.
Njegov čopršič carries določeno gotovost, ki jo je nanašal z otreščenim in samozavostnim pokretom roke. V zgodnjih letih se je osredotočal na zajemanje prehodnih učinkov svetlobe in barve, kar predstavlja ključni značilnik impresionističnega gibanja. Pogosto je uporabljal oljno barvo, da bi ujel vzdušje scene, najsaj je bila to zasnežena parizska ulica ali tiha obala reke. Njegov pristop nikoli ni temeljil na natančnih, fotografskih detajlih, temveč na neposrednem občutku trenutka.
Sčasica njegove umetniške poti je prinašala vedno bolj intenzivno uporabo barv. Do leta 1886 je njegova paleta prinesla ugled "razburjenega kolorista". Odmaknil se je od subtilnih, naturalističnih tonov svojih sodobnikov in se odločil za veliko drznejjo uporabo barv. Do 1890-ih se je ta premik še dodatno izrazil. Njegove barve so postale manj zveste dejanski podobi narave in so se premaknile v smeri poudarjene, skoraj agresivne intenzivnosti. Ta evolucija nakazuje, da je raziskoval pot proti fauvizmu že celo desetletje preden se je to gibanje dejansko pojavilo.
Način, na katerem je obdeloval svetlobo, je pogosto težil k simbolizmu, kjer je z drznimi odtenki vzbudil občutek sanljive mistike. Ta napetost med zajemanjem realne pokrajine in uporabo barv za izražanje emotivnega, notranjega stanja opredeljuje velik del njegovega dela. Njegova umetnost se pogosto premika med opazovanjem naravnega sveta in bolj subjektivno, ekspresivno interpretacijo istega.
Ferdinand Guillaumin je deloval v samym središču impresionističnega kroga, saj je med leti 1874 in 1886 sodeloval na šestih od osmih izpostav Société anonyme des artistes peintres, sculpteurs et graveurs. Njegova prisotnost na teh srečanjih ga je postavila neposredno ob ljudi, ki so oblikovali vizualni jezik tistega obdobja. Na otoku Île Saint-Louis je delil studio s Paulom Cézannejem, umetnika sta bila tako tesno povezana, da je Cézanne izdelal celo grafike njegovega lika. Ta bližina je v 1870-ih omogočila nenehno, tiho izmenjavo idej in umetniških metod.
Njegov atelje je pogosto služil kot točišče za mlajšo generacijo slikarjev. Znano je, da so se v njegovih prostorih zbirali umetniki, kot so Paul Gauguin, Paul Signac in Georges Seurat, kjer so našli prostor za skupno ustvarjanje. Ta povezava z nastajajočo avantgardo nakazuje na most med uveljavljenim impresionističnim gibanjem in stilskimi usmeritvami, ki so prišle kasneje. Tudi Vincent van Gogh je v Guillauminovih umetniških pristopih našel veliko vsebine, ki mu je ni bila odobakta, kar dokazuje številna pisma, izmenjana med letoma 1888 in 1890.
Velik del njegove umetniške dediščine je danes shranjen v prestižnih institucijah po vsem svetu. Parizsko muzej Musée d’Orsay hrani kar 48 njegovih del, kar omogoča globok vpogled v njegov umetniški razvoj in trdnost njegovega stika z barvo. Med najbolj izstopajočimi dziejami je Place Valhubert, Paris, ki ga je ustvaril leta 1872. To delo na čaroben način zajema zimski mestni prizor, kjer ljudje krožajo skozi zasneženo urbanističko pokrajino ob sami obali reke.
Njegova neustreden zanimanje za pokrajino je pogosto vodilo proti mirnim obalo Sen.
The Seine at Charenton je še eno izjemno opazno delo njegovega bogatega opesa. Njegova sposobnost manipulacije svetlobo in barvo je v celoti razvidna v teh študijah naravnega sveta in pulzirajočega mestnega življenja. Mnoga od teh slik so ohranjena v različnih muzejih, kar zagotavlja, da njegov edinstven vizualni jezik ostaja dostopen vsem, ki raziskujejo to fascinantno umetniško dobo.Leto 1891 je v življenju umetnika Ferdinand Guillaumin prineslo nečepak, prelomno spremembo. Po tem ko je v državni loteriji dobitnik 100.000 francozih, je končno lahko zapustil svoje službeno delo v državni službi in se posvetil izključno slikarstvu. Ta svoboda mu je omogočila, da je svojo umetniško izražnost razvil do polne mere, njegova paleta barv pa je v letih, ki so sledili, postala še drznija. Odmaknil se je od stroge zvestobičnosti naravi in se usmeril v slog, ki so ga nekateri videli kot predhodnika fauvizma, kjer barva ne le opisuje, temveč neposredno izražuje čustva.
Njegova prisotnost v umetniškem svetu je ostala neomajna vse do njegove smrti 26. junija 1927. Dela, ki jih je pustil za sobą, so danas razpršena po številnih prestižnih zbirkah, med katerimi izstopata Musée d’Orsay in Petit Palais v Parizu. Njegov prispevek k impresionističnemu gibanju ostaja neprecenljiv za vse tiste, ki raziskujejo fascinantno razvoj svetlobe in barve na koncu 19. stoletja.
