Autorska prava Ovo delo je u javnom vlasništvu. Александар Кабанел je preminuo/la 1889. godine; autorska prava traju 70 godina nakon smrti umetnika, pa su prestala 1959.
U kontekstu
Phèdre — Александар Кабанел
Originalne dimenzije su 37 × 56 cm (visina × širina), prikazane ovde pored odrasle osobe prosečne visine.
Gornji red: godine. Donji red: starost umetnika na početku i na kraju svakog perioda — 0 u rođenju, 66 u smrti.
Naslikano kada je umetnik imao 57 godina. Umetnik je doživeo 66. 55 od ukupno 73 datiranih dela ovog umetnika u našem katalogu nastalo je ranije.
Osenčeno: životni vek umetnika Александар Кабанел (1823–1889) ▲ ovo delo, 1880 svaka datirana slika, deceniju po deceniju
Prva dela: do 1851 Glavne radne godine: 1851–1879 Kasna dela: od 1879
Ova tri segmenta dele dela koja u ovom katalogu imaju navedenu datum na prvi kvartal, srednju polovinu i poslednji kvartal. Ona ne predstavljaju kompletan umetnikov opus: tanji niz može biti praznina u arhivu pre nego period mirovanja. Iste godine kroz koje se proteže život umetnika
Izaberite jedno od gore navedenih dela: navedite dve stvari koje su mu zajedničke sa ovim i jednu stvar koja ga razlikuje.
Još dela koja se mogu postaviti pored ovog: wikioo.org/sr/art/similar/phedre-by-alexandre-cabanel/
Izmereno na osnovu slike
Glavna boja
Rosy Brown #a59480
Katalogizovana paleta
Ove boje unutar cele umetnikove palete Pronađite druge slike prema boji
Deset vodećih zemalja
Pronađite tri najtamnije zemlje na mapi. Da li se muzej u kojem se čuva ova slika nalazi u bilo kojoj od njih? Navedite jedan razlog zbog kojeg bi je ljudi sa dalekih mesta mogli posmatrati.
Zajedno, ova dela zauzimaju 93,2% ukupne pažnje koju su slike ovog umetnika privukle tokom poslednjih dvanaest meseci. Katalog sadrži 109 dela ovog umetnika, od kojih je 50 pregledano barem jednom. Ova slika još uvek nije pregledana u tom periodu — ona zatvara listu bez rangiranja. Isto važi i za pojedinačne mesece
Barovi mere pažnju, ne kvalitet. Odaberite rad na vrhu i ovaj: navedite jednu stvar koja bi sliku mogla učiniti slavnom pored toga koliko je dobro naslikana.
Umetnik i muzej
Rođen/a u Монпеље, Франска
Alexandre Cabanel was born on September 28, 1823, in Montpellier, France. He grew up in a modest household as the son of a carpenter. While his family's daily life was rooted in manual labor and craftsmanship, the young boy possessed a natural inclination toward drawing. By the age of ten, his talent was clear enough that he began formal instruction at the local art school in Montpellier. He studied under Charles Matet at the Montpellier School of Fine Arts, where he first learned to translate observation into form.
His early promise eventually led him away from the southern coast of France toward the center of the French art world. In 1839, a scholarship allowed him to move to Paris to continue his education. He entered the École des Beaux-Arts that year, joining the studio of François-Édouard Picot in October. This training was rigorous and focused on the classical principles that would define his career. Under Picot, he learned the discipline required to master the human figure and the historical subjects that the academies demanded.
The path to success became clear for Cabanel in 1845. At twenty-two years old, he won the Prix de Rome scholarship, a prize that would change the course of his life. This achievement allowed him to leave the structured classrooms of Paris for the open air and ancient history of Italy. He spent his time as a resident of the Villa Medici until 1850, a period that allowed him to live among the very classical ideals he sought to capture on canvas.
While living in Rome, his brush moved between religious devotion and grand historical narratives. In 1849, he painted St. John the Baptist, a work that reflected the weight of his studies. By 1850, he had completed The Death of Moses. This painting was significant enough to be exhibited at the Salon of 1852, marking his emergence as a serious presence in the French art scene after his return from Italy.
Success in the Parisian art world often depended on the support of influential figures, and for Cabanel, that support came from both private collectors and the highest levels of government. Alfred Bruyas, a fellow native of Montpellier, became a chief patron during a formative period of the artist's career. Bruyas’s interest in Cabanel’s work led to several significant commissions, including Albaydé, La Chiaruccia, and A Thinker, Young Roman Monk. These works allowed the artist to explore more mysterious and tragic themes that would become a hallmark of his style.
As his reputation grew, Cabanel’s reach extended into the grandest spaces of French public and private life. He was the preferred painter of Napoleon III, a connection that solidified his standing during the Second Empire. Beyond the intimate scale of portraiture, he was frequently called upon to handle large-scale decorative projects. The architect Jean-Baptiste Cicéron Lesueur commissioned him to decorate twelve pendentives in the Salon des Caryatides. This was part of a broader career in interior decoration that saw him working on significant projects for the Hôtel Pereire and the Hôtel Say.
The year 1863 brought a turning point in Cabanel's career with the presentation of The Birth of Venus. This depiction of the goddess emerging from the sea caused an immediate sensation within the art world. While some found the work's sensuality controversial, its impact was undeniable. The painting was so highly regarded that Napoleon III purchased it for his own personal collection, a move that solidified Cabanel's standing among the most sought-after painters of the Second Empire.
As his career progressed, Cabanel continued to engage with the grand traditions of classical literature. In 1880, he exhibited Phaedra at the Salon, a large-scale work focusing on a classical subject from literature. This painting eventually found its way to the Musée Fabre in his hometown of Montpellier. His ability to handle monumental subjects was also evident in his decorative work, such as The Triumph of Flora, which is held in the Louvre.
The Birth of Venus
Phaedra
The Triumph of Flora
Cabanel’s hand was guided by the strict discipline of academic realism. He did not seek to capture the messy, fleeting impressions of a moment, but rather to achieve a sense of permanence through precise draftsmanship and meticulous detail. His brushwork was smooth, almost invisible, allowing for subtle gradations of tone that gave his figures a soft, polished finish. This technical control was most evident in his treatment of the human form; he possessed a particular talent for rendering flesh tones with a realism that made his subjects appear to possess actual warmth and life.
His compositions were built upon the classical ideals of harmony, balance, and proportion. He looked to the past to find his subjects, often turning to historical, mythological, or religious narratives to provide the foundation for his canvases. In these works, he sought to idealize his subjects, refining their features to meet a standard of classical beauty rather than simply replicating the world as it appeared. This pursuit of an idealized reality allowed him to create images that felt both grounded in human anatomy and elevated by a sense of grace.
The Birth of Venus, 1863
Ophelia, 1883
Portrait of Countess E. A. Vorontsova Dashkova
Cabanel occupied a central, often defensive, position within the French art establishment. He was a determined opponent of the Impressionists, finding their approach at odds with the traditions he spent his life upholding. This tension became public during the Salon of 1863, when he and William-Adolphe Bouguereau refused to allow Édouard Manet to exhibit his work. This decision helped trigger the creation of the Salon des Refusés, marking a significant fracture in the Parisian art scene between the old guard and the new movements.
While he stood firm against these changing tides, Cabanel was also deeply invested in the future of the next generation. In 1864, he was appointed a professor at the École des Beaux-Arts, a role he held until his death in 1889. He was a dedicated teacher who shaped the hands and minds of many. His influence was widespread; his pupils could be counted by the hundred at the Salons, carrying his technical precision into the following decades.
By the middle of his career, Cabanel had reached the highest levels of the French art establishment. In 1863, he was elected as a member of the Academy of Fine Arts, occupying the tenth chair. His standing in society continued to rise, and in 1864, he was appointed an officer of the Legion of Honor. These honors reflected his influence within the official structures of the time. He remained deeply involved in the selection process for the Salon, serving as a jury member seventeen times between 1868 and 1888.
As the decades passed, the art world around him began to shift, yet he remained a steady presence in the Parisian art scene. He continued to paint and teach, maintaining his commitment to the classical traditions he had mastered decades earlier. His life eventually came to an end in Paris, France, on January 23, 1889. While he spent his final years in the capital, his roots remained in the south. He was buried in Saint-Lazare, Montpellier.
To find the heart of Cabanel’s legacy, one often begins in Montpellier, France. The Musée Fabre holds the largest concentration of his output, with twelve works preserved in his home region. Among these are his early explorations of light and shadow, such as the 1848 painting A Thinker, Young Roman Monk, and the 1847 work Fallen Angel. These pieces offer a direct look at the technical precision that defined his early career.
In Paris, his presence is felt through several significant collections. The Musée d'Orsay houses six of his paintings, including the famous 1863 depiction of The Birth of Venus. Nearby, the Louvre contains two works, including the undated TRIOMPHE DE FLORE. These Parisian collections allow viewers to see how his style evolved as he moved through the heights of the Salon system.
His influence extends far beyond France, reaching major institutions in the United States. The Metropolitan Museum of Art in New York holds four of his works, including the 1874 painting The Nymph Echo. Meanwhile, the Baltimore Museum of Art preserves two pieces, such as the 1885 portrait of Mary Frick Garrett (later Mrs. Henry Barton Jacobs). These international holdings ensure that his specific approach to the human form remains accessible to a global audience.
The Birth of Venus (1863)
Fallen Angel (1847)
A Thinker, Young Roman Monk (1848)
The Nymph Echo (1874)
Izložbeno mesto Pariz, Francuska
Smešten u samom srcu Pariza, Musée du Petit Palais stoji kao svedočanstvo elegancije Belle Époque ere i umetničkih ambicija. Izgrađena za Univerzalni izložbu 1900. godine – događaj koji je učvrstio reputaciju Pariza kao svetske kulturne prestonice – ova veličanstvena građevina nije bila namenjena samo prikazivanju umetnosti; ona je osmišljena kao oličenje pariskih ideala, odražavajući duh inovacije i rafiniranog ukusa. Danas, ona čuva očaravajuću kolekciju koja se proteže od antičkog doba do početka 20. veka, nudeći posetiocima putovanje kroz evropsku umetničku istoriju.
Nasleđe ukorenjeno u proslavi:
Poreklo Petit Palais-a leži u obeležavanju Univerzalne izložbe, gde su arhitekte nastojale da stvore prostor koji će izazvati strahopoštovanje i divljenje. Prepoznajući trajnu lepotu originalne strukture, ona je očuvana kao trajni muzej, osiguravajući svoju neprestanu ulogu svetionika umetničkog nasleđa.
Arhitektonsko čudo:
Dizajniran od strane Charlesa Giraulta u Beaux-Arts stilu, Petit Palais je trenutno prepoznatljiv po svojoj impresivnoj fasadi koja gleda ka Grand Palais-u i svom mirnom polukružnom dvorištu. Veličina zgrade proizilazi iz njenih pedantnih proporcija, ukrašenih elegantnim jonskim kolonama i krunisanih monumentalnom kupolom – što je bio svesan izbor kako bi se prenela prestiž i umetnička težnja.
Kolekcija Petit Palais-a je izuzetno raznolika, odražavajući umetničke struje svog vremena. Posetioci se mogu uroniti u remek-dela luminara impresionizma poput Claudea Moneta i Pierre-Auguste Renoir-a, čija platna beleže prolaznu lepotu pariskih pejzaža i svakodnevnog života. Štaviše, dublje istraživanje antičke grčke umetnosti otkriva zadivljujuće skulpture i vaze koje osvetljavaju vrednosti i estetiku klasične civilizacije — fascinantan kontrast u odnosu na bujanje umetničkih senzibiliteta Belle Époque ere.
Ikonične impresionističke slike:
Divite se Monetovim upečatljivim prikazima vrtova u Giverny-ju, koji hvataju eteričnu svetlost i vibrantne boje karakteristične za impresionizam. Renoirova dela slave
joie de vivre
, portretišući scene pariskih društvenih okupljanja majstorskim potezima četkice.
Odjek antičkog doba:
Istražite skulpture inspirisane grčkim idealima lepote i harmonije — podsetnik na neprolazni uticaj klasične umetnosti na evropsku kulturu.
Kolekcija Petit Palais-a proteže se izvan vizuelnih umetnosti kako bi obuhvatila dekorativne umetnosti 19. i početka 20. veka. Od zamršeno izrađenih porcelanskih figurica do raskošnih tekstila i izvrsnog nameštaja, ovi predmeti nude uvid u umetničke ukuse pariskog društva tokom transformativnog perioda.
Vitrina umetničkih inovacija:
Petit Palais je tokom svoje istorije ugostio brojne izložbe, prikazujući revolucionarna umetnička dela i podstičući dijalog između umetnika i naučnika. Posebno je odigrao ključnu ulogu u promovisanju avangardnih pokreta kao što su kubizam i nadrealizam.
Možda najveća privlačnost Petit Palais-a leži u njegovoj pristupačnosti — besplatan ulaz osigurava da svako ko je zainteresovan za umetnost može iskusiti njegov sjaj. Kao pariski muzej prožet istorijom i umetničkom izvrsnošću, on ostaje dragoceno odredište za putnike koji traže inspiraciju i kulturno obogaćenje. Ne propustite priliku da prošetate njegovim prelepo uređenim vrtovima i kontemplirate neprolazno nasleđe umetnosti Belle Époque ere.
Svi podaci koje imamo o Phèdre by Александар Кабанел, na njegovoj stranici o umetničkom delu
wikioo.org/sr/art/download/phedre-by-alexandre-cabanel/
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Phèdre — Александар Кабанел
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Originalno delo "Phèdre" čuva se u muzeju Petit Palais, a rad je u javnom vlasništvu – autorska prava su istekla.
Format dela "Phèdre" je Panoramic, što vam može biti od pomoći prilikom planiranja prostora u kojem ćete postaviti reprodukciju.
Stranica AR prikaz za delo „Phèdre”, autor Александар Кабанел koristi proširenu stvarnost kako bi vam prikazala umetničko delo u vašem sopstvenom prostoru, pomoću kompatibilnog uređaja.