Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 23 dela Paul Leroy u našem katalogu
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Trenuci neaktivnosti (1899) je slika autora Paul Leroy koja privlači najviše pogleda. Nakon toga, pogled se seli na Portrait of a Young Arab Guide (1884) i Self-portrait (1883). Među 23 dela umetnika Paul Leroy u našem katalogu, ovih 21 su najpoznatija, od kojih je svako jedinstveni original predstavljen sa godinom nastanka, muzejom i razlogom zbog kojeg je i danas neprocenjivo.
Sunce visi nisko na horizontu, bacajući prigušeno svetlo preko tihe obale. Tri žene i dete odmaraju na pesku, njihovi oblici su grupisani u mekom, horizontalnom rasporedu. Obuzete su tkaninama u nijansama bledo ružičaste, krem i bele boje, koje hvataju treptaj svetlosti na horizontu. More se spaja sa nebom u prelivu zlata i plavetnila, dok talasi nežno udaraju o obalu. Svaka linija prati krivinu udova ili sporo kretanje plime. To je…
The subject is a young man presented in a strict side profile, facing toward the right side of the frame. He is positioned on the left, creating a compositional weight that directs the viewer's gaze across the canvas. His head is wrapped in a voluminous white turban, the folds of which are rendered with heavy, visible brushwork that suggests the weight and texture of the fabric. Below the turban, the…
A young man stares directly from the canvas, his eyes holding a quiet, contemplative weight that pulls the viewer into his immediate presence. The light, spilling softly from the upper left, carves the contours of his nose and cheekbones, casting gentle shadows that define a face caught in a moment of deep thought. He is dressed in a dark jacket over a white shirt, accented by a patterned bow tie…
The oil sketch for the dining room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing is a work by Paul Leroy. Created between 1891 and 1892, this piece emerged from a specific moment of civic ambition. It was an entry for a competition intended to embellish the Hôtel de Ville de Paris before the turn of the century.
The face of an elderly man emerges from a heavy, dark void. It is a study of light meeting the quiet gravity of age. A single light source, positioned to the upper left, carves the contours of a high forehead and the deep-set eyes of a man who has seen many seasons. His white beard is a thick, textured landscape of fine brushwork, catching the light where it meets the…
PORTRAIT DE LA MERE DE L'ARTISTE
12
Les pèlerins d'Emmaüs
13
The Harem Dance
14
La casbah d'Alger
15
La citadelle du Caire
16
Le vieux Caire
17
Going to Church
18
Mending the stocking
19
The Musicians
20
Chemin de croix 2e station Jésus est chargé de la croix
21
Nature morte aux objets d'époque Louis Philippe
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
5 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzeji | Grad | Radovi umetnika Paul Leroy | Slike iz ovog spiska |
|---|---|---|---|
 Musée des Beaux-Arts de Brest |
Brest | 1 | Portrait of a Young Arab Guide |
 Musée des Beaux-Arts de Quimper |
Kemp | 1 | Self-portrait |
 Petit Palais |
Pariz | 1 | Sketch for the Dining Room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing |
 Museum of Fine Arts Ghent (MSK) |
Gent | 1 | Portrait of Alfred Leroy, the Artist’s Father |
 Musée des Beaux-Arts de Rouen |
Ruan | 1 | Jésus chez Marthe et Marie |
Dugovečna karijera od 18 godina, od 1882 do 1899: najpoznatiji originali umetnika Paul Leroy, prikazani godinu po godinu.
Izaberite godinu da biste videli originalna dela.
A young man stares directly from the canvas, his eyes holding a quiet, contemplative weight that pulls the viewer into his immediate presence. The light, spilling softly from the upper left, carves the contours of his nose and cheekbones, casting gentle shadows that define a face caught in a moment of deep thought. He is dressed in a dark jacket over a white shirt, accented by a patterned bow tie…
The subject is a young man presented in a strict side profile, facing toward the right side of the frame. He is positioned on the left, creating a compositional weight that directs the viewer's gaze across the canvas. His head is wrapped in a voluminous white turban, the folds of which are rendered with heavy, visible brushwork that suggests the weight and texture of the fabric. Below the turban, the…
The face of an elderly man emerges from a heavy, dark void. It is a study of light meeting the quiet gravity of age. A single light source, positioned to the upper left, carves the contours of a high forehead and the deep-set eyes of a man who has seen many seasons. His white beard is a thick, textured landscape of fine brushwork, catching the light where it meets the…
The oil sketch for the dining room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing is a work by Paul Leroy. Created between 1891 and 1892, this piece emerged from a specific moment of civic ambition. It was an entry for a competition intended to embellish the Hôtel de Ville de Paris before the turn of the century.
Sunce visi nisko na horizontu, bacajući prigušeno svetlo preko tihe obale. Tri žene i dete odmaraju na pesku, njihovi oblici su grupisani u mekom, horizontalnom rasporedu. Obuzete su tkaninama u nijansama bledo ružičaste, krem i bele boje, koje hvataju treptaj svetlosti na horizontu. More se spaja sa nebom u prelivu zlata i plavetnila, dok talasi nežno udaraju o obalu. Svaka linija prati krivinu udova ili sporo kretanje plime. To je…
Trenuci neaktivnosti (1899). Slede Portrait of a Young Arab Guide (1884) i Self-portrait (1883).
39 godina: Trenuci neaktivnosti datira iz 1899, a Paul Leroy je rođen/a 1860.
Trenuci neaktivnosti, Portrait of a Young Arab Guide, Self-portrait, Sketch for the Dining Room of the Hôtel de Ville de Paris: The Hunt. Abundance. Fishing, Portrait of Alfred Leroy, the Artist’s Father, Jésus chez Marthe et Marie, The girls of Atlas, Intérieur de mosquée, Jésus chez Marthe et Marie (Esquisse) i Esquisse pour la figure du Christ dans Les aveugles de Jéricho. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 23 dela umetnika Paul Leroy, datiranih od 1882 do 1899.
Većinom u Musée des Beaux-Arts de Brest (Brest), Musée des Beaux-Arts de Quimper (Kemp) i Petit Palais (Pariz). Tabela muzeja iznad sadrži njih sve.
Na ovoj stranici, najstarije delo je iz Jésus chez Marthe et Marie (1882), a najnovije iz Trenuci neaktivnosti (1899).
Man (3), Skin tones (2) i Beard (2), kroz svih 21 dela na ovoj stranici.
Oil On Canvas, za 3 od 21 dela na ovoj stranici.
Born in Paris, France, Paul Alexandre Alfred Leroy spent his formative years far from the streets of his birthplace. His childhood was spent in Odessa, Russia, where his father conducted business. This early exposure to a different way of life left a lasting impression on the young boy, planting a seed of interest in the East that would define his entire career. When he eventually returned to Paris to study at the École des Beaux-Arts, he did so with a perspective shaped by those distant horizons.
His talent was evident early on. In 1882, at the age of twenty-two, he presented Jesus with Martha and Mary, a large format work that secured his place in the public eye. This painting, which was later acquired by the Musée de Rouen, demonstrated a warmth and a lively use of color that distinguished him from his teacher, Alexandre Cabanel. It was a work of striking sincerity, capturing a sense of everyday life even within a religious subject.
The hunger for the Orient led him away from the studios of Paris and into the heat of North Africa and the Middle East. He traveled through Italy, moving from Genoa to Rome via Milan and Venice, a trip that infused his palette with a Venetian sensibility. His later travels were more focused on the lands that would become his primary subjects. Between 1885 and 1887, he spent two years in Egypt, and his wanderings took him through Turkey, Tunisia, Algeria, Constantinople, and Persia.
These travels were not merely for inspiration; they were deep immersions. He studied the Arabic language, a skill that allowed him to incorporate Arabic script into his paintings and lithographs with a level of authenticity that few of his contemporaries could claim. His work often focused on:
Leroy was a man of significant influence within his professional circles. He was a founding member of the Société des Peintres Orientalistes Français in 1893. His contribution to the group was not limited to his brushwork; he also designed the society's first logo, which incorporated symbols such as the sickle moon, the star of David, and the black hand of Fatma. This involvement solidified his position among the leading voices of the Orientalist movement.
Throughout his life, his technical skill was recognized through various honors, including a medal and a second gold medal in 1882, as well as the Prix du Salon in 1884. Whether working in oil, watercolours, or lithography, he remained dedicated to depicting the world as he had seen it, from the religious scenes of his youth to the complex social interiors of the Middle East. He passed away in 1942, leaving behind a body of work that captured a specific, lived reality of the Orient.
