11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 27点の Albert Andréの作品がカタログにあります
概要
このランキングによると、Woman Reading Before Window (1903)はAlbert Andréの最も有名な作品であり、シカゴのシカゴ美術館に所蔵されています。 その次にYoung woman sewing, (1913)、そしてPlace des Batignolles, Paris (1893)が続きます。 このリストは、カタログに含まれるAlbert Andréの27点の作品から、最も有名な21点を厳選したものです。各作品には制作年、所蔵美術館、および解説が記載されています。
In Woman Reading Before Window, Albert André invites us into a quiet, private world. Painted about 1903, this oil painting captures a serene and intimate moment of domestic solitude. A woman sits in profile, her attention entirely absorbed by a book. She is positioned in the midground, seated by a large window that acts as a portal between her quiet interior and the sprawling urban cityscape outside. The stillness of…
A young woman sits in a chair positioned before a window, her attention directed toward the task of sewing or knitting. The light from the window illuminates the scene, casting a soft glow over the domestic space. To the right, a couch occupies the corner of the room, while a second chair is placed further back in the composition. A potted plant sits on the left, providing a singular point…
After Breakfast in Renoir`s House, (1917)
12
The Road under the Trees
13
The Road of Cagnes, (1918)
14
Woman by the Toilette, (1930)
15
Vase of Flowers
16
Landscape, the Church at Cannet, (1902)
17
Village Street in Provence
18
The Bouquet (View from the Artist`s Studio), (1910)
19
Reading at the Garden, (1903)
20
Still Life - Vase of Flowers and Fruits on the Table, (1910)
21
Old Lady in White Seated, (1912)
これらの作品の中で最も頻繁に描かれている4つの主題と、それぞれの代表作。
このページに掲載されている絵画を最も多く所蔵している 2 の美術館
| 美術館 | 都市 | Albert Andréの作品 | このリストの絵画 |
|---|---|---|---|
 シカゴ美術館 |
シカゴ | 3 | Woman Reading Before Window, Place des Batignolles, Paris, By the Sea, Dieppe |
 フィリップス・コレクション |
Washington, D.C. | 1 | The Concert |
年代を選択して、その時代の代表的な絵画を表示します。
In Woman Reading Before Window, Albert André invites us into a quiet, private world. Painted about 1903, this oil painting captures a serene and intimate moment of domestic solitude. A woman sits in profile, her attention entirely absorbed by a book. She is positioned in the midground, seated by a large window that acts as a portal between her quiet interior and the sprawling urban cityscape outside. The stillness of…
Woman Reading Before Window (1903)、シカゴ美術館, シカゴ。次の作品はYoung woman sewing, (1913)、Place des Batignolles, Paris (1893)です。
34歳：Albert Andréは1869に生まれ、Woman Reading Before Windowの制作年は1903年です。
Woman Reading Before Window, Young woman sewing, (1913), Place des Batignolles, Paris, By the Sea, Dieppe, The Concert, Woman sewing, (1925), The Terrace at Laudun, Compote of Peaches and Pears, with Pitchers, on a Table, Port of Marseille, (1918) と Female Nude Put on the Shoes。上記のリストには、それぞれの制作日と所蔵美術館が記載されています。
カタログには、1893年から1913年にかけて制作されたAlbert Andréによる27点の作品が記録されています。
主にシカゴ美術館 (シカゴ) と フィリップス・コレクション (Washington, D.C.)に所蔵されています。詳細な分布については、上記の美術館一覧をご参照ください。
1890sにおいて、このページに掲載されている全21作品のうち2作品がその時代の作品であり、Place des Batignolles, Parisが含まれます。
ここに掲載されている最も古い作品はPlace des Batignolles, Paris (1893)、最も新しい作品はCompote of Peaches and Pears, with Pitchers, on a Table (1913)です。
このページに掲載されている全21作品のうち、Roads (3), Woman (2) と Window (2)件
このページに掲載されている全21作品のうち、2件のOil
このページに掲載されている作品が示すPost-impressionism
Woman Reading Before Window, Place des Batignolles, Paris と By the Sea, Dieppeは、シカゴ美術館, シカゴのコレクションに含まれる、このページに掲載されている3点の作品のうちの一つです。
Albert André (1869-1954) wasn’t a name that frequently echoes through the halls of grand museums, yet his paintings possess a profound and enduring appeal. He was, in essence, a quiet master—a Post-Impressionist painter who eschewed the dramatic gestures of some contemporaries for a deeply personal exploration of domestic interiors, still lifes, and the subtle beauty of everyday Parisian life. Born in Lyon, André’s early artistic training wasn't marked by grand ambition but rather by a practical inclination towards designing patterns for silk—a craft that instilled in him an appreciation for color, texture, and meticulous detail, qualities he would later translate into his paintings.
André’s journey to becoming a recognized artist began with a move to Paris in 1889. He enrolled at the Académie Julian, immersing himself in the artistic currents of the time. Crucially, it was here that he encountered Paul Ranson and the burgeoning group known as Les Nabis—a collective that included figures like Bonnard, Vuillard, and Denis. This association proved pivotal, exposing André to a new approach to painting: one that valued suggestion over explicit representation, prioritizing mood and atmosphere alongside formal elements. The Nabis’ influence is evident in André's later work – his use of muted palettes, flattened perspectives, and an emphasis on capturing the fleeting effects of light.
A defining moment in André’s career arrived through his close friendship with Pierre-Auguste Renoir. The two artists, separated by a considerable age difference, forged a bond built on mutual respect and artistic admiration. Renoir, recognizing André's talent, became a generous patron, introducing him to the influential art dealer Paul Durand-Ruel, who secured exhibitions for André’s work in Paris and, significantly, in New York City. This connection with Renoir wasn’t merely personal; it profoundly shaped André’s artistic trajectory. He meticulously studied Renoir's techniques—his handling of color, his ability to capture the nuances of light and shadow, and his characteristic approach to portraiture – striving to emulate the master while developing his own distinct voice.
André’s early exhibitions at the Salon des Indépendants in 1894 garnered considerable attention. His paintings, characterized by their intimate scale and evocative atmosphere, were praised for their sensitivity and quiet beauty. The success of these works led to further opportunities, including participation in prestigious salons such as the Salon d'Automne and the Exposition d’Art Nouveau. Notably, André’s 1904 exhibition at the Salon de la Libre Esthétique in Brussels showcased his evolving style—a synthesis of Impressionistic color palettes with Nabis-influenced spatial distortions.
Following World War I, André sought refuge from the turmoil of Parisian life and relocated to the small village of Laudun in Provence. This move proved transformative, providing him with a sense of peace and stability that profoundly influenced his art. Laudon, nestled amongst vineyards and olive groves, became a constant source of inspiration—a place where he could reconnect with nature and rediscover the simple pleasures of life. It was here, in his family home, that André painted some of his most beloved works – scenes of domestic interiors bathed in the golden light of Provence, still lifes featuring flowers and fruit, and evocative portraits of friends and acquaintances.
André’s approach to painting during this period reflected a shift towards greater introspection. He abandoned the more overtly decorative elements of his earlier work, focusing instead on capturing the essence of everyday life—the quiet moments of contemplation, the subtle beauty of ordinary objects, and the enduring bonds of friendship. His paintings became increasingly characterized by their intimacy and emotional resonance.
Albert André’s artistic legacy is one of understated elegance and profound sensitivity. He wasn't a painter who sought fame or recognition; his primary motivation was to capture the beauty and complexity of the world around him—particularly the intimate corners of domestic life. His paintings, often overlooked in favor of more flamboyant works by contemporaries, possess a quiet power that continues to resonate with viewers today.
André’s influence extends beyond his own artistic output. His meticulous study of Renoir's work and his dedication to preserving the artist's legacy resulted in one of the most comprehensive and insightful biographies of Renoir ever written—a testament to André’s deep appreciation for his friend and mentor. Today, André’s paintings are held in prestigious collections around the world – including the Musée d’Orsay in Paris, the Art Institute of Chicago, and the Modern Art Museum of New York – ensuring that his quiet yet profound contribution to Post-Impressionism will continue to be appreciated for generations to come.
