Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 110 verk av Albert Besnard i vår katalog
Kortfattat
Ur galleriets perspektiv är Albert Besnards mest kända målning Morphine Addicts (1887), vars original hänger på Metropolitan Museum of Art i New York. Woman's Head (1890) och Pony (1892) fullbordar trion som alla känner igen. Av de 110 verk av Albert Besnard i vår katalog presenterar galleriet nedan de 100 mest kända, var och en som ett original med sitt år, sitt museum och vad som gör det unikt.
Two women sit within the sterile confines of a laboratory, their forms caught in a pale, diffused light. The scene is quiet, heavy with a stillness that feels almost medicinal. One woman gazes directly at the viewer, her eyes carrying a weight of resignation, while her companion looks downward, lost in a private, hollowed thought. Between them, a table holds the cold geometry of scientific glassware, its transparent surfaces catching…
A single female figure occupies the frame, her head tilted in a moment of quiet repose. The composition is an intimate crop, pulling the viewer into the private space of her shoulders and face. Soft, diffused light enters from the upper left, tracing the curve of her neck and the delicate planes of her skin. This illumination creates a gentle depth, casting shadows that define her form without the need…
A single horse stands against a rustic wooden fence. The animal lifts its head, peering over the timber slats with a quiet, searching posture. Beside it, a second form remains partially obscured, a shadow of movement caught in the grain of the wood. The scene is rendered in the stark, precise language of a black and white etching. Every line of the fence and every contour of the horse's neck…
In this 1890 etching, we find a moment of profound stillness within the Besnard household. The composition focuses on four figures, captured in a state of quiet intimacy that feels almost private, as if we have stumbled upon a fleeting glance in a private sitting room. Madame Besnard is positioned in the lower left foreground, her profile offering a sense of calm stability. Behind her, the forms of their daughter,…
This oil on panel portrait depicts André-Charles Coppier in a three-quarter profile. The subject is an older man seated and facing the viewer directly. He wears a heavy, dark coat that absorbs much of the light. His hair and mustache are rendered with thick, visible brushstrokes that suggest texture and volume. The lighting originates from the upper left, casting shadows across the right side of his face and defining the…
The scene captured by this evocative work, "The Visitor," invites the viewer into an intimate moment suspended just outside the frame of time. It is not merely a depiction of people gathered at a table; it is a study in anticipation, a quiet drama unfolding under the soft wash of diffused light. The composition centers around a palpable tension—the arrival or observation of the 'Visitor' amidst a group already settled…
In this 1877 oil on canvas, a man is seated in a three-quarter length pose, turned slightly toward his right. He does not meet the viewer's gaze but looks away, his eyes directed toward an unseen point beyond the frame. The subject wears a dark, heavy suit, likely navy or black, which absorbs much of the light. His facial features are defined by soft contours and a well-groomed beard. A…
The air in the room thickens with the sudden, sharp tension of a life being extinguished. A man, Timophanes, is caught in the middle of a fatal struggle, his body reacting to the sudden intrusion of violence. A raised sword cuts through the space, its edge directed toward the central figure who is being struck down. The composition pulls the eye along diagonal lines formed by flailing limbs and the…
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding is a work by the French painter Paul Albert Besnard. Created about 1880, this piece functions as a preparatory study for a larger commission intended for the Mairie of the 19th Arrondissement of the Ville de Paris.
In Paul Albert Besnard's Portrait of Francis Magnard, the viewer meets the subject through a steady, eye-level perspective that establishes an immediate, quiet connection. The composition centers on a medium shot of the man, who sits slightly off-center within a somber interior. To the left, a dark architectural element, resembling a column, anchors the space, while to the right, a dimly lit doorway or hallway recedes into the shadows. This…
Sketch for the Mairie du 4ème: The Return of the Fields1884 · Petit Palais
12
Sketch for the Mairie du 4ème: July 14, 18801884 · Petit Palais
13
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor1880 · Petit Palais
14
Sketch for the wedding hall of the town hall of the 19th arrondissement of the Ville de Paris: The Triumph of the Republic (Ceiling)1880 · Petit Palais
15
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Winter1880 · Petit Palais
16
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn1880 · Petit Palais
17
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer1880 · Petit Palais
18
Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement: Spring1880 · Petit Palais
19
Madeleine Lerolle and Her Daughter Yvonne1879 · Cleveland Museum of Art
20
The First Morning (Albert and Charlotte Dubray Besnard and their Son, Robert)1881 · Los Angeles County Museum of Art
21
Sketch for the Wedding Hall of the Mairie du 1er: Winter, or The Evening of Life1886 · Petit Palais
22
Sketch for the Wedding Hall of the Mairie du 1er: Summer, or the Midlife1886 · Petit Palais
23
Sketch for the Wedding Hall of the Mairie du 1er: Spring or the Morning of Life1886 · Petit Palais
24
Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Electricity1890 · Petit Palais
25
Sketch for the Hôtel de Ville de Paris: Truth Leading the Sciences in Her Wake Spreads Her Light upon Men (Ceiling)1890 · Petit Palais
26
Portrait of Madame Besnard, née Charlotte Dubray (1854-1931)1890 · Musée Carnavalet
27
Nude Holding Her Leg1886
28
In the Embers1887
29
Portrait of Marcel Bing (2 fragments before restoration)1895 · Petit Palais
30
The First Performance of Hernani, 18301905 · Musée Victor Hugo
31
The Siesta1905 · Cleveland Museum of Art
32
La Biarrote1901
33
Musician (musicienne)1900
34
Portrait of Camille Barrère at Palazzo Farnese1906 · Petit Palais
35
On the Bridge of Trichinopoly (India)1911 · Petit Palais
36
Four Panels: The Decoration of the Dome of the Vestibule d'Honneur of the Petit Palais1906 · Petit Palais
37
Thought1908 · Petit Palais
38
Amorous Conversation1913
39
Cardinal Mercier1916
40
Horse Market in Algiers1925
41
Portrait de Jean-Louis Vaudoyer (1883-1963)1932 · Musée Carnavalet
42
Le vestibule d’entrée du Petit Palais décorée par Albert Besnard -Petit Palais
43
Horses1894 · Metropolitan Museum of Art
44
Sadness (tristesse)1877
45
Sketch for the Mairie du 4ème: The Ball in the City or The Social Party1884 · Petit Palais
46
Sketch for the Mairie du 4ème: The Ball in the Countryside or The Popular Festival1884 · Petit Palais
47
Sketch for the Mairie du 4ème: The Apple Picking1884 · Petit Palais
48
Sketch for the Mairie du 4ème: July 14, 17901884 · Petit Palais
49
A Martyr1883
50
Iza Sleeping1885
51
Neuilly Fair1885
52
La Muse Accoudée1884
53
Madame Besnard1884
54
Dying Woman (la Mourante)1885
55
Model Asleep on the Floor1885
56
Sketch for the Salon of Sciences of the Hôtel de Ville de Paris: Meteorology1890 · Petit Palais
57
Horses bitten by flies.1892 · The National Museum in Poznań
58
Eve1886
59
Intimacy1889
60
La Femme1886
61
Bathing at Talloires1888
62
Robert Besnard and His Donkey1888
63
Apotheosis1886
64
Prostitution1886
65
Eve Before the Apple Tree1892
66
Nude Woman by a Looking Glass1889
67
Melancholy (mélancolie)1888
68
Self-portrait1893
69
Coquette1900
70
Love Consecrated1900
71
In the Crowd1900
72
Discreet (discrète)1900
73
Confidences1900
74
Indifferent1900
75
Madeleine Lemaire1900
76
Intimate Fantasy1901
77
Danger Passed1900
78
Cast of a Net (le Coup De Filet)1900
79
Zebu Team in India, Study1910 · Musée des Beaux-Arts de Pau
80
The Mystic, Sketch of the Overall Composition1908 · Petit Palais
81
Un Soir
82
Edmond Pigalle1908
83
Garnet Joseph WolseleyNational Portrait Gallery
84
Bather with Child and Swan by the Sea
85
Margaret Wilhelmina Ames
86
Le femme aux cheveux roux
87
Portrait de Madame Georges Rodenbach
88
Georges Clemenceau1917
89
Getting up1913
90
Going to Bed1913
91
Leda Sleeping1913
92
Gabriele D'annunzio1917
93
Leda Bathing (léda Au Bain)1913
94
Auguste Rodin1922
95
Birth Announcement for Anne-élisabeth Besnard1922
96
Back of a Woman, Study1924 · Musée des Beaux-Arts de Rouen
97
Le Biarotte1929
98
Carmen Standing in the Nude
99
Peacock Feathers
100
Matinée d'été
#9 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding
#13 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor
#16 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn
#17 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer
De fyra motiv som återkommer oftast i dessa originalverk, var och ett med sitt främsta exempel.
#2 Woman's Head
#11 Sketch for the Mairie du 4ème: The Return of the Fields
#13 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Ceres - Abundance Encouraging Labor
#15 Sketch for the Wedding Hall of the Mairie of the 19th Arrondissement of the Ville de Paris: Winter
#12 Sketch for the Mairie du 4ème: July 14, 1880
#14 Sketch for the wedding hall of the town hall of the 19th arrondissement of the Ville de Paris: The Triumph of the Republic (Ceiling)
#16 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Autumn
#17 Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: Summer
De 8 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Albert Besnard | Målningar från denna lista |
|---|---|---|---|
 Petit Palais |
Paris | 29 | Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding, Portrait of Francis Magnard, Sketch for the Mairie du 4ème: The Return of the Fields |
 Metropolitan Museum of Art |
New York | 4 | Morphine Addicts, Family, The Visitor |
 Musée Carnavalet |
Paris | 3 | Portrait of André Wormser (1851-1926), Pianist and Composer, Portrait of Madame Besnard, née Charlotte Dubray (1854-1931), Portrait de Jean-Louis Vaudoyer (1883-1963) |
 Cleveland Museum of Art |
Cleveland | 2 | Madeleine Lerolle and Her Daughter Yvonne, The Siesta |
 Art Institute of Chicago |
Chicago | 1 | Woman's Head |
 Musée d'Orsay |
Paris | 1 | Portrait of André-Charles Coppier (1866-1948) |
 Los Angeles County Museum of Art |
Los Angeles | 1 | The First Morning (Albert and Charlotte Dubray Besnard and their Son, Robert) |
 Musée Victor Hugo |
Paris | 1 | The First Performance of Hernani, 1830 |
Välj ett decennium för att se originalverket som definierar det.
In this 1877 oil on canvas, a man is seated in a three-quarter length pose, turned slightly toward his right. He does not meet the viewer's gaze but looks away, his eyes directed toward an unseen point beyond the frame. The subject wears a dark, heavy suit, likely navy or black, which absorbs much of the light. His facial features are defined by soft contours and a well-groomed beard. A…
Two women sit within the sterile confines of a laboratory, their forms caught in a pale, diffused light. The scene is quiet, heavy with a stillness that feels almost medicinal. One woman gazes directly at the viewer, her eyes carrying a weight of resignation, while her companion looks downward, lost in a private, hollowed thought. Between them, a table holds the cold geometry of scientific glassware, its transparent surfaces catching…
A single female figure occupies the frame, her head tilted in a moment of quiet repose. The composition is an intimate crop, pulling the viewer into the private space of her shoulders and face. Soft, diffused light enters from the upper left, tracing the curve of her neck and the delicate planes of her skin. This illumination creates a gentle depth, casting shadows that define her form without the need…
This oil on panel portrait depicts André-Charles Coppier in a three-quarter profile. The subject is an older man seated and facing the viewer directly. He wears a heavy, dark coat that absorbs much of the light. His hair and mustache are rendered with thick, visible brushstrokes that suggest texture and volume. The lighting originates from the upper left, casting shadows across the right side of his face and defining the…
On the Bridge of Trichinopoly (India) is an oil painting by the French painter and printmaker Paul Albert Besnard. Created about 1911, this work emerged from a period when the artist was exploring the effects of light and atmosphere following a visit to India. The piece captures a specific moment of communal movement, rendered with a focus on the rhythmic patterns of daily life.
The scene unfolds within the bustling atmosphere of a horse market in Algiers. In this moment, the air feels thick with the energy of commerce and the movement of animals. Paul Albert Besnard captures a specific slice of life from about 1925, freezing a period of intense activity where horses of various sizes gather amidst the trade of the marketplace. The work, titled Horse Market in Algiers, presents a world…
In this 1932 oil portrait, we find ourselves in the private, scholarly sanctuary of Jean-Louis Vaudoyer. The subject is positioned in a medium close-up, slightly off-center, which lends a natural, unforced quality to the composition. He is a man of letters, captured in a moment of quiet contemplation amidst the receding planes of a library. The atmosphere is one of profound stillness, where the weight of knowledge is felt through…
Morphine Addicts (1887), Metropolitan Museum of Art, New York. Woman's Head (1890) och Pony (1892) följer efter.
38 år gammal: Morphine Addicts är från 1887, och Albert Besnard föddes 1849.
Morphine Addicts, Woman's Head, Pony, Family, Portrait of André-Charles Coppier (1866-1948), The Visitor, Portrait of André Wormser (1851-1926), Pianist and Composer, The Death of Timophanes, Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding och Portrait of Francis Magnard. Rankingen ovan visar varje verks årtal och museum.
Vår katalog innehåller 110 verk av Albert Besnard, daterade från 1874 till 1932.
Främst i Petit Palais (Paris), Metropolitan Museum of Art (New York) och Musée Carnavalet (Paris). Museitabellen ovan listar alla.
Under 1880s: 37 av de 100 verk som finns på denna sida skapades då, varav Morphine Addicts.
På den här sidan är det tidigaste The Death of Timophanes (1874) och det senaste Portrait de Jean-Louis Vaudoyer (1883-1963) (1932).
Woman (15), Figures (11) och Man (10), fördelat på 100 verk på denna sida.
Etching, för 11 av de 100 verk som finns på denna sida.
Impressionism, om man dömer efter originalen på denna sida.
Sketch for the Mairie of the 19th Arrondissement of the Ville de Paris: The Wedding, Portrait of Francis Magnard och Sketch for the Mairie du 4ème: The Return of the Fields: Petit Palais, Paris har 27 av verken på denna sida.
Paul Albert Besnard (1849-1934) framstår som en unik gestalt i den franska konstens väv, en målare som navigerade genom det sena nittonde och tidiga tjugonde århundradets skiftande strömningar med en särpräglad och ogreppbar elegans. Hans konstnärliga resa tog sin början i Paris, inom de strikta ramarna för École des Beaux-Arts, där han var elev under Jean Bremond. Hans tidiga utveckling präglades djupt av Alexandre Cabanels noggranna realism, ett inflytande som gav Besnard en disciplinerad akademisk grund. Men under denna klassiska skolning bultade hjärtat hos en moderniserare, en konstnär som slutligen skulle röra sig bortom traditionens stela gränser för att omfamna ljusets och atmosfänens förgängliga skönhet.
Allt eftersom hans karriär mognade, började Besnard överbrygga klyftan mellan den strukturerade akademiska måleriet och impressionismens livfulla, sensoriska utforskningar. Även om han aldrig helt övergav formen till förmån för ren abstraktion, blev han en mästare på färg, där han använde en palett som kändes både lysande och djupt emotionell. Hans verk kännetecknas av en orubblig fascination för hur ljuset samspelar med ytor, vare sig det rör sig om den skira huden i ett porträtt eller de vidsträckta arkitektoniska vyerna i hans mest storslagna beställningsverk. Denna förmåga att förena det monumentala med det intima gjorde att han kunde transcendera sin tids etiketter och skapa en stil som kändes både tidlös och slående samtida.
Besnards sanna geni var kanske som tydligast i hans förmåga att översätta moderna förnimmelser till en storslagen, dekorativ skala. Han målade inte bara bilder; han transformerade rum. Hans ambitiösa fresker, som pryder några av Frankrikes mest prestigefyllda institutioner, står som ett vittnesbörd om hans vision om konsten som en offentlig och omslutande upplevelse. Dessa verk kan finnas på platser såsom:
I dessa massiva projekt undvek Besnard den överdrivet dramatiska eller teatrala estetik som många av hans samtida föredrog. Istället använde han ett mer subtilt och atmosfäriskt tillvägagångssätt som lät ljuset vägleda betraktarens öga, vilket säkerställde att även de mest omfattande kompositionerna behöll en känsla av poetisk intimitet och andligt djup.
Bortom freskernas vidsträckta vyer var Besnard en flitig skapare av betydligt mer personliga verk. Han besatt en extraordinär förmåga att fånga sina motivs psykologiska essens genom olja, akvarell, pastell och etsning. Hans porträtt hyllas inte bara för sin tekniska precision, utan för sin djupa emotionella resonans. I hans skildring av Madame Georges Rodenbach finner man en djärv utforskning av skönhet som utmanar konventionella normer, och som visar hans skicklighet i att återge textur och karaktär med lika stor passion.
Hans mångsidighet som grafiker och tecknare tillät honom att experimentera med samspelet mellan skugga och ljus på en mycket mer delikat skala. Oavsett om han fångade den kungliga närvaron hos Belgiens kung och drottning eller ett landskaps stillhet, förblir Besnards verk förankrade i ett inflytande som påminner om Thomas Gainsborough—en viss elegans och rytmisk flöde som lyfter motivet. I slutändan ligger Paul Albert Besnards betydelse i just denna dualitet: han var en konstnär som kunde bemästra Frankrikes största salar, samtidigt som han fångade ljusets mest flyktiga och sköra viskningar.
