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Alexandre  Cabanel The Death of Francesca da Rimini and Paolo Malatesta oil painting


The Death of Francesca da Rimini and Paolo Malatesta
Painting ID::  296
Alexandre Cabanel
The Death of Francesca da Rimini and Paolo Malatesta
1870 Musee d'Orsay, Paris

   
   
     

Alexandre  Cabanel The Birth of Venus oil painting


The Birth of Venus
Painting ID::  297
Alexandre Cabanel
The Birth of Venus
1863 Musee d\'Orsay, Paris

   
   
     

Alexandre  Cabanel La Comtesse de Keller oil painting


La Comtesse de Keller
Painting ID::  10937
Alexandre Cabanel
La Comtesse de Keller
1873. 3' 3" x 2' 6" ( 99x76 cm ). Gift of Marquis and Marquis de Saint - Yves d'Alveydre, 1889.

   
   
     

Alexandre  Cabanel Prince K A Gorchakov (san 05) oil painting


Prince K A Gorchakov (san 05)
Painting ID::  20981
Alexandre Cabanel
Prince K A Gorchakov (san 05)
1868 (Inv No 5093)Oil on canvas 26 1/2 x 22''(67 x 56 cm)(Ex coll Gorchakov St Petersburg)

   
   
     

Alexandre  Cabanel The Birth of Venus oil painting


The Birth of Venus
Painting ID::  40730
Alexandre Cabanel
The Birth of Venus
mk156 c.1863 Oil on canvas 130x225cm

   
   
     

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     Alexandre Cabanel
     1823-1889 French Alexandre Cabanel Locations French painter and teacher. His skill in drawing was apparently evident by the age of 11. His father could not afford his training, but in 1839 his departement gave him a grant to go to Paris. This enabled him to register at the Ecole des Beaux-Arts the following October as a pupil of Francois-Edouard Picot. At his first Salon in 1843 he presented Agony in the Garden (Valenciennes, Mus. B.-A.) and won second place in the Prix de Rome competition (after Lon Benouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and Benouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel Death of Moses (untraced), an academic composition, painted to comply with the regulations of the Ecole de Rome, was exhibited at the Salon of 1852. The pictures he painted for Alfred Bruyas, his chief patron at this time (and, like Cabanel, a native of Montpellier), showed more clearly the direction his art had taken during his stay in Italy. Albayde, Angel of the Evening, Chiarruccia and Velleda (all in Montpellier, Mus. Fabre) were the first of many mysterious or tragic heroines painted by Cabanel and show his taste for the elegiac types and suave finish of the Florentine Mannerists.

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     | James Sharples | Ludovico Cigoli | Alfred Jensen |


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