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） · 141 件 朱尔·布勒东 作品收录于我们的目录中
简而言之
The Song of the Lark (1884) 是 朱尔·布勒东 最受瞩目的画作；原作收藏于 芝加哥 的 芝加哥艺术学院。 随后，目光会移向 The Shepherd's Star (1887) 和 Burning Tares in a Wheatfield (1868)。 在 朱尔·布勒东 的 141 件作品中，这 100 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。
In the quietude of a French dawn, Jules Breton captures a moment that transcends the boundaries of mere observation, inviting the viewer into a profound communion with the natural world. The Song of the Lark, painted in 1884, is far more than a pastoral scene; it is a poetic meditation on the sanctity of existence. At the heart of this masterpiece, a young peasant girl stands transfixed within a sun-drenched…
The Shepherd's Star is an oil on canvas painting by the French artist Jules Breton. Executed in 1887, the work depicts a young peasant woman. The subject is shown barefoot, carrying a heavy sack of potatoes on her head as she returns from the fields at twilight. This specific figure is positioned beneath the rising star Capella, which appears over her shoulder.
In this 1868 oil painting, we find ourselves in the midst of a heavy, overcast afternoon in the French countryside. The scene is one of purposeful, gritty labor. A man dominates the foreground, his body leaning into the physical demand of his task as he uses a pitchfork to toss weeds into a growing fire. There is a palpable sense of heat and smoke rising from the field, cutting through…
The quietude of a rustic interior in the Kempen region unfolds within Interior in Kempen. Painted by Jules Breton in 1859, the scene captures a moment of stillness inside a humble cabin. Two men sit together by the warmth of a fireplace, their presence grounding the space in a sense of lived-in reality. The air seems heavy with the soft, dim light of the hearth, casting shadows across the simple…
The First Communicants at Courrières is an oil painting by Jules Breton, executed about 1855. The work captures a solemn religious milestone through its depiction of a procession of young girls. This scene is rooted in the traditions of the artist's native region, reflecting the quiet reverence of a significant communal ritual.
A solitary young woman sits in the lower middle ground of a vast, harvested landscape. She is positioned at eye-level, creating an immediate proximity between the viewer and her seated form. Her clothing consists of a dark, deep black blouse and a long skirt, contrasted by a light-colored apron. The fabric of her garments appears heavy, rendered with thick, textured brushstrokes that suggest weight and coarse material. She rests within…
In this 1855 oil painting, three young women occupy a sunlit wheat field. The composition follows a triangular arrangement, directing the eye from a standing pair on the left toward a seated figure on the right. The landscape is dominated by golden yellows and ochres from the ripe grain, which contrasts with the deep browns and greens of the earth and foliage. The women wear clothing in muted shades of…
The Ruins of Saint Bavo's Abbey in Ghent emerges from the canvas as a quiet meditation on stone and sky. Painted by Jules Breton in 1853, this work captures a specific moment of stillness amidst the crumbling architecture of the abbey. The scene rests within the visual memory of the Belgian landscape, where the remnants of the abbey's towers and arches reach toward an overcast sky. A solitary figure lingers…
The Man with the Pipe is an oil on canvas portrait by the artist Jules Breton. Created about 1860, this work presents a profile view of an elderly man. The subject is depicted in a moment of quietude, holding a pipe with a long stem. He is positioned slightly off-center against a dark, indistinct background.
A woman stands at the edge of the world, where the earth meets the salt spray. She is a central pillar of stillness against the movement of the tide. Her white headscarf catches the light, a bright point of focus amidst the muted tones of the coast. The sea stretches out behind her, a pale expanse of blue and grey, dotted with the tiny, distant shapes of sailboats. The horizon…
The Blessing of the wheat in Artois1857 · 奥赛博物馆
12
Family reunion in Bourron-Marlotte (Théodore de Banville in the forest of Fontainebleau)1857 · Petit Palais
13
Mondays1858
14
Havana. View of the port and the cityFundación Antonio de Nebrija
15
The Bedeau of Kerlaz1868 · Musée des Beaux-Arts de Quimper
16
Head of a Young Breton Woman, Study for the Pardon1868 · Petit Palais
17
Head of Breton, Study for the Pardon1868 · Petit Palais
18
Lightning1865 · Petit Palais
19
Procession of Pardon in Brittany1869 · 古巴国家美术馆
20
The harvest1865 · The Mesdag Collection
21
Jeanne Calvet1865
22
Pardon of Sainte-Anne-la-Palud1868
23
Trust1864 · 里尔美术馆
24
The Gleaner1875 · Aberdeen Art Gallery
25
Fishermen at Menton1878 · 普希金国家美术馆
26
The Blessing of the Wheat1872 · 奇美博物館
27
Young Woman Knitting1873
28
Self Portrait1883 · Aberdeen Art Gallery
29
Peasants Resting1882 · Arnot Art Museum
30
Study for the Song of the lark1884
31
Last Flowers1890 · 辛辛那提艺术博物馆
32
Study for The Washerwoman from 18901889
33
Self-portrait1895 · 安特卫普皇家美术馆
34
Self-portrait, profile to the right卢浮宫
35
The milk girl1899
36
Woman with a Taper1873 · 波士顿美术馆
37
Young girl knitting (version 2)1860
38
The Tired Gleaner1880 · 克利夫兰艺术博物馆
39
the communicants
40
The Grape Harvest at the Chateau-LagrangeJoslyn Art Museum
41
The Colza (Harvesting Rapeseed)1860 · 国家美术馆
42
Young peasant girl with a hoe1882 · 梵高博物馆
43
Summer landscape with peasants and cows1850
44
The Storm1852 · Wadsworth Atheneum
45
Landscape, Courrières, France1854
46
Head of a woman1857 · 里尔美术馆
47
Preparatory study by 'Erecting a Calvary'1858 · 里尔美术馆
48
The gleaner1859 · 休斯顿美术馆
49
Gleaners at sunset1863
50
Fire in a Haystack1856
51
Plantation d'un Calvaire1858 · 里尔美术宫 (Lille Palais des Beaux-Arts)
52
Girl with a Rake1859 · 爱尔兰国家美术馆
53
The Recall of the Gleaners1859 · 奥赛博物馆
54
Spinner on the Rocks at Douarnenez1870 · Petit Palais
55
Woman with umbrella, Douarnenez bay1870 · Petit Palais
56
Young Reaper Sleeping on Sheaves of Wheat1866
57
Breton woman at the pardon1868
58
The Washerwomen of the Breton Coast1870
59
Untitled (D2X6VU)1870 · 大都会艺术博物馆
60
A Spring by the Sea1866
61
A Party for Grandfather1864
62
The Vintage at Chateau Lagrange1864 · Joslyn Art Museum
63
La Femme A L'ombrelle1871
64
The Close of Day1865 · 沃尔特斯艺术博物馆
65
Midsummer Night Dance in Courrières1875 · 国家美术、建筑与设计博物馆
66
Woman breast feeding her child, accompanied by another woman1873 · The Baltimore Museum of Art
67
Paysanne au repos1873
68
Setting out for the Fields1873
69
The Feast of Saint John1875 · 费城艺术博物馆
70
The Rest of the Haymakers1872
71
The Wounded Sea Gull1878 · 圣路易斯艺术博物馆
72
The Flax Spinner1872 · Philbrook Museum of Art
73
Girl Guarding the Cows1872
74
The Tea Break1885 · Dahesh Museum of Art
75
Artist's palette1882 · The Baltimore Museum of Art
76
The Communicants1884
77
Rainbow1883
78
Le Matin1888
79
Young Women Going to a Procession1890
80
Evening Call1889
81
Summer1891
82
Le Pardon De Kergoat1891
83
Faneuse au repos1891 · 卡洛斯特·古尔本基亚基金会
84
Peasant woman picking up a sheaf of carnations1896
85
The Last Gleanings1895 · 亨廷顿图书馆
86
The Gleaner1900
87
Turning Back from the Fields (study)Museum of Fine Arts Ghent (MSK)
88
Poppies (study)Museum of Fine Arts Ghent (MSK)
89
Young Woman in a Field
90
The Gleaner
91
Souvenir de dour Amenez
92
the potato harvest
93
Young Girl Thinking
94
Young Boy at the Foot of a Tree
95
The Water Carrier
96
Woman sitting in a meadow
97
Peasant study (Marguerite Moreau)
98
Two Seated Women in Conversation, One with a StaffThe Baltimore Museum of Art
99
Young musicianThe Baltimore Museum of Art
100
Fin du travail (also known as A travers champs)1886 · 布鲁克林博物馆
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 | 朱尔·布勒东 的作品 | 此列表中的画作 |
|---|---|---|---|
 Petit Palais |
巴黎 | 9 | The First Communicants at Courrières, The Man with the Pipe, Family reunion in Bourron-Marlotte (Théodore de Banville in the forest of Fontainebleau) |
 The Baltimore Museum of Art |
巴尔的摩 | 5 | Woman breast feeding her child, accompanied by another woman, Artist's palette, Two Seated Women in Conversation, One with a Staff |
 里尔美术馆 |
里尔 | 3 | Trust, Head of a woman, Preparatory study by 'Erecting a Calvary' |
 奥赛博物馆 |
巴黎 | 3 | The Blessing of the wheat in Artois, The Recall of the Gleaners |
 Museum of Fine Arts Ghent (MSK) |
根特 | 3 | Turning Back from the Fields (study), Poppies (study) |
 费城艺术博物馆 |
费城 | 2 | Burning Tares in a Wheatfield, The Feast of Saint John |
 Aberdeen Art Gallery |
2 | The Gleaner, Self Portrait | |
 Joslyn Art Museum |
奥马哈 | 2 | The Grape Harvest at the Chateau-Lagrange, The Vintage at Chateau Lagrange |
选择一个年代，探索定义该时代的原创杰作。
The quietude of a rustic interior in the Kempen region unfolds within Interior in Kempen. Painted by Jules Breton in 1859, the scene captures a moment of stillness inside a humble cabin. Two men sit together by the warmth of a fireplace, their presence grounding the space in a sense of lived-in reality. The air seems heavy with the soft, dim light of the hearth, casting shadows across the simple…
In this 1868 oil painting, we find ourselves in the midst of a heavy, overcast afternoon in the French countryside. The scene is one of purposeful, gritty labor. A man dominates the foreground, his body leaning into the physical demand of his task as he uses a pitchfork to toss weeds into a growing fire. There is a palpable sense of heat and smoke rising from the field, cutting through…
In this oil on canvas work, titled The Gleaner, Jules Breton presents a quiet moment of manual labor. Painted in 1875, the piece belongs to the genre painting tradition, focusing on the specificities of everyday life. It captures a solitary female figure within a pastoral setting, blending the characteristics of a portrait with a broader study of rural existence.
In the quietude of a French dawn, Jules Breton captures a moment that transcends the boundaries of mere observation, inviting the viewer into a profound communion with the natural world. The Song of the Lark, painted in 1884, is far more than a pastoral scene; it is a poetic meditation on the sanctity of existence. At the heart of this masterpiece, a young peasant girl stands transfixed within a sun-drenched…
In this 1890 oil painting, a solitary woman is positioned slightly off-center within a snow-covered garden. She is depicted in a vertical composition, leaning toward frost-covered rose bushes. Her clothing consists of earthy brown fabric and a blue apron. The landscape is characterized by spindly, leafless tree branches and drooping flower stems. A layer of white and soft grey snow covers the ground, while the background features receding trees and…
The Song of the Lark (1884)，芝加哥艺术学院, 芝加哥。紧随其后的是 The Shepherd's Star (1887) 和 Burning Tares in a Wheatfield (1868)。
57岁：The Song of the Lark创作于1884年，朱尔·布勒东出生于1827年。
The Song of the Lark, The Shepherd's Star, Burning Tares in a Wheatfield, Interior in Kempen, The First Communicants at Courrières, Small Gleaner Sitting in the Field, Love Tokens, Ruins of Saint Bavo's Abbey in Ghent, The Man with the Pipe 及 By the seaside。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 141 件 朱尔·布勒东 的作品，创作年代从 1850 年至 1900 年。
多见于 Petit Palais (巴黎), The Baltimore Museum of Art (巴尔的摩) 及 里尔美术馆 (里尔)。上方的博物馆列表列出了所有相关机构。
在 1860s 期间：本页 100 件作品中有 20 件创作于该时期，其中包含 Burning Tares in a Wheatfield 件作品。
在本页面中，最早的作品创作于 Summer landscape with peasants and cows (1850)，最晚的创作于 The Gleaner (1900)。
Woman (18), Field (10) 及 Sky (9)，共计 100 件作品。
Oil On Canvas，共计 35 件（本页共有 100 件作品）。
根据本页面的原作，Realism
The First Communicants at Courrières, The Man with the Pipe 及 Family reunion in Bourron-Marlotte (Théodore de Banville in the forest of Fontainebleau)：Petit Palais, 巴黎收藏了本页中 8 件作品。
儒勒·布雷顿（1827–1906）是法国现实主义艺术的一块基石。这一艺术运动致力于准确、真实地描绘生活，不加任何粉饰——而这正是他在画布上全身心投入的使命。布雷顿出生于法国北部加来海峡省库里埃尔的一个小村庄，早年生活虽处于清贫之中，却孕育了他对观察与再现事物那份坚定不移的热情。他的成长环境深植于农业丰饶的阿尔托瓦景观之中，这种根基赋予了他对传统的深切尊重以及对土地的眷恋，而这种情感贯穿了他漫长的艺术生涯。幼年丧母，随后由身为富裕地主管家的父亲抚养长大，这些经历让他与乡村生活的律动建立了一种亲密无间的纽带。
当许多同时代的艺术家仍在追求神话或历史题材的宏大叙事时，布雷顿却将目光转向了普通劳动者的尊严。他拥有一种罕见的天赋，能够升华平凡的日常——无论是拾穗者、收割者还是牧羊人——并赋予他们一种传统上仅保留给古典人物的学院派优雅。这种独特的融合使他成为了田园牧歌式乡村生活愿景的主要传递者，通过一种既具自然主义深度又富有诗意色彩的视角，捕捉到了法国乡间的动人美感。
布雷顿的艺术旅程是由对现实主义和自然主义原则的严谨承诺所塑造的。他的早期训练包括在圣贝尔坦学院的学习，这最终引导他走向了与那个时代大师们更深层次的对话。他吸收了该运动中毫不妥协的技法，力求创作出能够像镜子一样反映社会复杂性的艺术作品。这一发展阶段的标志是他渴望实现一种他称之为宏大风格的境界——即一种为质朴题材注入纪念碑式重要感与永恒感的方式。
他的技法以精细入微的细节和明亮的色调组合为特征，并巧妙地运用这些技巧来传达自然世界的纹理。无论是捕捉清晨草地上的柔和晨光，还是盛夏田野中那沉重且阳光充沛的气息，布雷顿都通过布面油画实现了惊人的深度感。他的构图常常唤起一种田园般的宁静，画面中充满了如下场景：
通过这些题材，布雷顿不仅仅是在装饰画布；他是在对人类与大地之间那份持久的纽带进行深沉的冥想。
儒勒·布雷顿的历史意义在于他能够架起一座桥梁，连接起过去的学院派传统与19世纪的现代现实主义。通过将精湛的古典方法应用于对农民生活的描绘，他为这个经常被高雅艺术所忽视的阶层赋予了一种永恒感与尊严感。他的作品在当时引起了公众的强烈共鸣，使他在巴黎沙龙中赢得了极高的赞誉，并确立了他在法国艺术界的领军地位。
除了他个人的画布之外，布雷顿的影响力还通过他的家族以及他在更广泛艺术共同体中的角色得以延伸。他的女儿维吉妮·德蒙-布雷顿后来也成为了一位著名的画家，延续了这种深刻观察与精湛技艺的传承。时至今日，儒勒·布雷顿的作品因其怀旧的力量以及将观者带回法国田园生活消逝时代的能力而备受珍爱。他的画作犹如一扇通往19世纪灵魂的永恒之窗，提醒着我们在生命最简单的瞬间中，依然存在着那份静谧的美好。
