更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 26 件 亨利·莱曼 作品收录于我们的目录中
简而言之
Jean Louis Gabriel, Rector of Saint Merri (1861) 是 亨利·莱曼 最受瞩目的画作；原作收藏于 底特律 的 底特律艺术学院。 随后，目光会移向 The fisherman and the nymph (1837) 和 Portrait of Count de Nieuwerkerke (1811-1892) (1846)。 在 亨利·莱曼 的 26 件作品中，这 26 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
The portrait of Jean Louis Gabriel, Rector of Saint Merri, presents us with a direct encounter with the curé de Saint-Merri, or Saint-Merry. This figure, Jean Louis Gabriel, sits before us through the brush of Henri Lehmann. The artist captures the man in a moment of quiet dignity, fixing his gaze upon the viewer with a steady, contemplative presence. Every line of the subject's face and the heavy folds of…
The fisherman and the nymph is an oil painting by Henri Lehmann, dating to about 1837. This work emerged during a period when the artist was establishing his presence within the French artistic landscape, following his early training in Germany. The piece captures a quiet, mythological encounter, rendered with the precision characteristic of Lehmann's academic training.
The portrait presents a man in a bust-length view, framed within an oval format. He is positioned against a dark, nondescript background that lacks any discernible setting, focusing all attention on the figure. The subject's face and upper shoulders occupy the center of the composition. His expression is serious and contemplative, with eyes directed toward the viewer. A light source originates from the upper left, casting shadows across the right…
Portrait of Madame Arsène Houssaye by Henri Lehmann is an oval-shaped bust portrait presented in profile. The composition utilizes a close-up view with a shallow depth of field, focusing the viewer's attention entirely on the subject. The figure is positioned against a non-descript, dark background that transitions from charcoal to warm umber. This dark setting emphasizes the subject's presence and creates a sense of atmospheric depth. The subject is depicted…
In the portrait Mariuccia, Henri Lehmann employs a vertically oriented composition to frame the subject. The figure of the woman is positioned slightly off-center, depicted from the waist up against a vast coastal landscape. She is turned partially toward the viewer, looking back over her shoulder with a calm expression. This positioning creates a sense of dynamic balance within the frame, directing the eye from the immediate foreground toward the…
The portrait of Faustine Léo emerges from an oval frame, a window into a quiet, mid-nineteenth-century afternoon. She sits centered, her presence defined by the smooth, polished surface of oil on canvas. A wreath of flowers rests upon her head, a delicate circle of nature that rests against her hair. Behind her, the world recedes into a soft landscape where a river and a distant bridge meet the rolling hills…
In this 1850 oil painting, titled Desolation of the Oceanids at the foot of the rock where Prometheus is chained, Henri Lehmann explores a moment of profound mythological grief. The work captures the heavy atmosphere surrounding the punishment of Prometheus, focusing on the emotional fallout felt by the Oceanids. It is a significant example of the artist's ability to translate classical narratives into a structured, academic visual language.
Portrait of the doctor M.G. Worms by Henri Lehmann presents a single male figure in a three-quarter view portrait. The subject is positioned slightly off-center within the frame, facing toward the viewer's left while maintaining a direct gaze forward. His expression remains calm, composed, and slightly enigmatic. This mid-19th-century oil portrait, dating from about 1850, focuses on the sitter's head and upper torso against a near-black background.
In this three-quarter length portrait, Henri Lehmann presents the Italian Peasant Woman, a work from about 1863. The composition centers a single female figure against a muted, atmospheric background that recedes into soft shadows. She meets the viewer at eye-level, her calm and steady gaze creating an immediate, quiet intimacy. There is a sense of stillness in her posture, a quiet dignity that anchors the entire scene.
The young Italian woman is an oil on canvas painted by Henri Lehmann in 1863. This portrait captures a single female figure, presented in a three-quarter length view that allows for an intimate connection with the viewer. The subject is positioned slightly off-center, a choice that lends a sense of balance to the composition while maintaining a quiet, composed posture. Her steady gaze and the dignity of her presence define…
The Italian piper1863
12
Musée du Louvre - La Source ou l'eau - Henri Lehmann1870 · Musée Ingres Bourdelle
13
Madame Henri Lehmann (Clemence Casadavant)1866 · 康德博物馆
14
Right Prevails over Force1873
15
Les repos1864
16
圣凯瑟琳娜·阿尔杰诺克斯塔画作名称翻译：圣凯瑟琳娜的殉难画作。1839 · 法布尔博物馆
17
La princesse Belgiojoso
18
The bather
19
Baron Georges-Eugène Haussmann卡纳瓦勒博物馆
20
Woman of the 'Orient'1837 · 国家美术馆
21
Portrait de Madame Alphonse Karr明尼阿波利斯艺术学院
22
Calypso明尼阿波利斯艺术学院
23
Lille lehmann le repos里尔美术馆
24
Study of a Female Nude大都会艺术博物馆
25
Portrait de Marie d-Agoult卡纳瓦勒博物馆
26
Portrait of Franz Liszt卡纳瓦勒博物馆
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | 亨利·莱曼 的作品 | 此列表中的画作 |
|---|---|---|---|
 卡纳瓦勒博物馆 |
巴黎 | 3 | Baron Georges-Eugène Haussmann, Portrait de Marie d-Agoult, Portrait of Franz Liszt |
 法布尔博物馆 |
蒙彼利埃 | 2 | Mariuccia, 圣凯瑟琳娜·阿尔杰诺克斯塔画作名称翻译：圣凯瑟琳娜的殉难画作。 |
 大都会艺术博物馆 |
纽约 | 2 | Faustine Léo (1832–1865), Study of a Female Nude |
 明尼阿波利斯艺术学院 |
明尼阿波利斯 | 2 | Portrait de Madame Alphonse Karr, Calypso |
 底特律艺术学院 |
底特律 | 1 | Jean Louis Gabriel, Rector of Saint Merri |
 Musée des Beaux-Arts |
Carcassonne | 1 | The fisherman and the nymph |
 Musee National du Chateau de Compiegne |
孔皮涅 | 1 | Portrait of Count de Nieuwerkerke (1811-1892) |
 musée Muséum départemental des Hautes-Alpes |
Gap | 1 | Desolation of the Oceanids at the foot of the rock where Prometheus is chained |
选择一个年代，探索定义该时代的原创杰作。
The fisherman and the nymph is an oil painting by Henri Lehmann, dating to about 1837. This work emerged during a period when the artist was establishing his presence within the French artistic landscape, following his early training in Germany. The piece captures a quiet, mythological encounter, rendered with the precision characteristic of Lehmann's academic training.
The portrait presents a man in a bust-length view, framed within an oval format. He is positioned against a dark, nondescript background that lacks any discernible setting, focusing all attention on the figure. The subject's face and upper shoulders occupy the center of the composition. His expression is serious and contemplative, with eyes directed toward the viewer. A light source originates from the upper left, casting shadows across the right…
In this 1850 oil painting, titled Desolation of the Oceanids at the foot of the rock where Prometheus is chained, Henri Lehmann explores a moment of profound mythological grief. The work captures the heavy atmosphere surrounding the punishment of Prometheus, focusing on the emotional fallout felt by the Oceanids. It is a significant example of the artist's ability to translate classical narratives into a structured, academic visual language.
The portrait of Jean Louis Gabriel, Rector of Saint Merri, presents us with a direct encounter with the curé de Saint-Merri, or Saint-Merry. This figure, Jean Louis Gabriel, sits before us through the brush of Henri Lehmann. The artist captures the man in a moment of quiet dignity, fixing his gaze upon the viewer with a steady, contemplative presence. Every line of the subject's face and the heavy folds of…
In this oil painting, titled Musée du Louvre - La Source ou l'eau - Henri Lehmann, the artist Henri Lehmann presents a quiet study of mythological allegory. Created about 1870, the work focuses on a single nude female figure. She is positioned as an allegory for a water source, embodying the concept of 'La Source' or The Spring. The subject matter draws from the classical tradition, using the human form…
Jean Louis Gabriel, Rector of Saint Merri (1861)，底特律艺术学院, 底特律。紧随其后的是 The fisherman and the nymph (1837) 和 Portrait of Count de Nieuwerkerke (1811-1892) (1846)。
47岁：Jean Louis Gabriel, Rector of Saint Merri创作于1861年，亨利·莱曼出生于1814年。
Jean Louis Gabriel, Rector of Saint Merri, The fisherman and the nymph, Portrait of Count de Nieuwerkerke (1811-1892), Portrait of Madame Arsène Houssaye, Mariuccia, Faustine Léo (1832–1865), Desolation of the Oceanids at the foot of the rock where Prometheus is chained, Portrait of the doctor M.G. Worms, Italian Peasant Woman 及 The young Italian woman。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 26 件 亨利·莱曼 的作品，创作年代从 1837 年至 1873 年。
多见于 卡纳瓦勒博物馆 (巴黎), 法布尔博物馆 (蒙彼利埃) 及 大都会艺术博物馆 (纽约)。上方的博物馆列表列出了所有相关机构。
在 1860s 期间：本页 26 件作品中有 6 件创作于该时期，其中包含 Jean Louis Gabriel, Rector of Saint Merri 件作品。
在本页面中，最早的作品创作于 The fisherman and the nymph (1837)，最晚的创作于 Right Prevails over Force (1873)。
Woman (8), Man (5) 及 Portrait (5)，共计 26 件作品。
Oil On Canvas，共计 11 件（本页共有 26 件作品）。
根据本页面的原作，Academic art
Baron Georges-Eugène Haussmann, Portrait de Marie d-Agoult 及 Portrait of Franz Liszt：卡纳瓦勒博物馆, 巴黎收藏了本页中 3 件作品。
在十九世纪法国艺术的宏伟织锦中，很少有像亨利·莱曼留下的痕迹那样如此细腻精巧。他出生于德国基尔，带着一种宁静的尊严，从汉堡的一名学生成长为巴黎沙龙中备受赞誉的人物，这段旅程见证了古典主义纪律的持久力量。他的早年生活深受其父亲——受人尊敬的肖像画家利奥·莱曼的亲密指导，这赋予了他对细节的掌控力以及对人体形态的深切敬畏。然而，1831年抵达巴黎才真正彻底改变了他的人生轨迹，因为他进入了传奇大师让-奥古斯特-多米尼克·安格尔的工作室。这次邂逅不仅仅是师徒传承，更是一场通往新古典主义核心的精神与技术洗礼。
作为安格尔虔诚的弟子，莱曼并未止步于模仿其大师的风格，而是成为了实现宏伟艺术愿景的重要合作者。在1838年至1841年间，莱曼在罗马期间，两人的合作关系蓬勃发展，在那里，法兰西学院的存在让他得以吸收盛期文艺复兴大师的宏大气质以及古典纪念碑的纯粹之美。这段罗马研习时期为他的作品注入了深厚的历史厚重感，并在素描中体现出建筑般的精准。无论是创作宏大的宗教构图，还是细腻的私人肖像，莱曼的笔触始终受那种源自安格尔式的、对纯粹线条与理想化优雅的执着所引导。
莱曼的作品集是一场关于多才多艺的卓越研究，他能以同样的驾驭力跨越神圣与世俗的界限。他拥有一种罕见的能力，能够应对宗教委约中严苛的要求，为圣经场景注入了触手可及的戏剧感与精神清晰度。他在圣克洛蒂尔德教堂及各类司法宫殿创作的作品，展示了他通过学院派卓越视角处理复杂寓言和神学叙事的能力。与此同时，他也是肖像画的大师，捕捉到了十九世纪文化精英的灵魂精髓。他的肖像画不仅仅是容貌的写照，更是窥视那个时代心理状态的窗口，其创作对象包括弗朗兹·李斯特Franz Liszt和充满灵性的玛丽·达格特Marie d'Agoult等名流。
除了宗教题材和肖像画，莱曼还从文学和神话领域汲取了无穷的灵感。他在莎士比亚的作品和古典神话中找到了深刻的意义，将诗意的母题转化为视觉现实，与他那个时代的浪漫主义情感产生共鸣。他能够将学院派绘画严谨的结构与文学主题的情感深度完美融合，这使他超越了“枯燥”学院派的标签。相反，他作为一位能够表现深邃优雅的艺术家脱颖而出，每一笔触都在将主题提升至一种永恒之美的境界。
莱曼职业生涯的轨迹以在竞争激烈的巴黎沙龙中的持续胜利为标志。他在1835年获得二等奖牌的早期成功，为随后在1840年、1848年和1855年获得一系列享誉盛名的头等奖牌奠定了基础。这些荣誉不仅是个人胜利，更是他在法国艺术等级制度中地位的肯定。他已完全融入了社会最高阶层；他成为了一名法国公民，并成为法兰西学会受人尊敬的成员，体现了学院派成就的巅峰。
莱曼对艺术的贡献通过其教育者的角色延伸到了画布之外。作为美术学院的教授，他致力于将严苛的训练标准传授给下一代画家。他对卓越的追求如此深厚，以至于他设立了莱曼奖，旨在表彰和培养年轻艺术家的学院派造诣。今天，我们纪念亨利·莱曼，不仅因为他是安格尔的追随者，更因为他是一位独立的艺术大师——一位连接了德国式的精准与法国式优雅的艺术家，他留下的作品至今仍是十九世纪历史画与肖像画的基石。
