1
Self-portrait
Håndmalet oliereproduktion fra $181 28 × 35 cm
Samme størrelse som originalen $373 77 × 95 cm Bestil i original størrelse →
Adèle Ferrand's mest berømte maleri er Self-portrait (1840) i Musée Léon-Dierx, Saint-Denis. Sammen med Portrait of Denis François Le Coat de Kerveguen (1846) og Self-portrait (1840) udgør de de tre værker, som alle kender. Vores katalog indeholder 3 værker af Adèle Ferrand; de 3 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Adèle Ferrand | Malerier fra denne liste |
|---|---|---|---|
 Musée Léon-Dierx |
Saint-Denis | 3 | Self-portrait, Portrait of Denis François Le Coat de Kerveguen, Self-portrait |
Adèle Ferrand arbejdede kun i 7 år, fra 1840 til 1846. Her er det korte karriereforløb år for år, gennem de mest berømte malerier.
Self-portrait (1840), Musée Léon-Dierx, Saint-Denis. Derefter følger Portrait of Denis François Le Coat de Kerveguen (1846) og Self-portrait (1840).
23 år gammel: Self-portrait er fra 1840, og Adèle Ferrand blev født i 1817.
Vores katalog indeholder 3 værker af Adèle Ferrand, dateret fra 1840 til 1846.
De fleste af dem findes i Musée Léon-Dierx (Saint-Denis). Tabellen ovenfor lister museerne enkeltvis.
I 1840: 2 af de 3 værker på denne side stammer fra denne periode, herunder Self-portrait.
Det tidligste på denne side er Self-portrait (1840), det seneste Portrait of Denis François Le Coat de Kerveguen (1846).
Self-portrait, Portrait of Denis François Le Coat de Kerveguen og Self-portrait er blandt de 3 værker på denne side, som er i Musée Léon-Dierx, Saint-Denis's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
To look at the surviving works of Adèle Ferrand is to witness a career truncated by tragedy before it could reach its full maturity. Born in Nancy, she emerged as a practitioner of the Romantic school, demonstrating a technical command that earned her regular placement in the Paris Salon starting in 1837. Her presence in the French art scene was not accidental; it was built on rigorous training under figures such as Le Poittevin and the Belgian historical painter Louis Gallait. She possessed the ability to handle both genre scenes and portraits with a directness that avoided unnecessary flourish.
Her trajectory shifted in 1846 when she married Denis François Le Coat de Kerveguen. This union moved her from the artistic circles of Paris to the island of Bourbon, now known as La Réunion. The move was not merely a change in geography but a shift in subject matter. In this distant territory of the Indian Ocean, her work began to absorb local elements. Her sketches and drawings from this period reflect a specific environment, incorporating:
Ferrand’s output was concentrated into a mere twelve years of active production. While her time in Paris allowed her to master the formal requirements of the Salon, her final two years on Réunion island provided a different kind of visual data. She produced studies of her young son, Herve, and portraits commissioned by her husband's family. These works show a painter capable of adapting the Romantic style to new, colonial landscapes.
The end of her life was as abrupt as her career. At only 30 years old, she died in Saint-Pierre from typhoid fever in 1848. Because her life ended so early, much of her legacy remains tied to specific collections, notably the Musée Léon-Dierx. Her son, Herve Le Coat de Kervéguen, later bequeathed a significant portion of her estate to the museum, including 24 framed paintings and drawings alongside hundreds of other sketches. This collection allows for a clear view of her development from a student in France to an artist documenting the life of a colonial outpost.