Arnold Scheffer's mest berømte maleri er Portrait of Adélaïde Ristori (1857) i Musée de la Vie Romantique, Paris. Sammen med A Feast Under Henri II (1865) og View of Venice (1873) udgør de de tre værker, som alle kender. Vores katalog indeholder 3 værker af Arnold Scheffer; 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 november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Arnold Scheffer | Malerier fra denne liste |
|---|---|---|---|
 Musée de la Vie Romantique |
Paris | 2 | Portrait of Adélaïde Ristori, View of Venice |
 Musée des Beaux-Arts |
Carcassonne | 1 | A Feast Under Henri II |
Portrait of Adélaïde Ristori (1857), Musée de la Vie Romantique, Paris. Derefter følger A Feast Under Henri II (1865) og View of Venice (1873).
18 år gammel: Portrait of Adélaïde Ristori er fra 1857, og Arnold Scheffer blev født i 1839.
Vores katalog indeholder 3 værker af Arnold Scheffer, dateret fra 1857 til 1873.
De fleste af dem findes i Musée de la Vie Romantique (Paris) og Musée des Beaux-Arts (Carcassonne). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Portrait of Adélaïde Ristori (1857), det seneste View of Venice (1873).
Portrait of Adélaïde Ristori og View of Venice er blandt de 2 værker på denne side, som er i Musée de la Vie Romantique, Paris'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.
In the heart of Paris, where the light of the nineteenth century fell upon the studios of the Nouvelle Athènes district, Ary Arnold Scheffer began his life. Born in 1839, he moved through a world defined by the fervent emotions of the Romantic movement. His early years were shaped by the very atmosphere of France, a place where the boundaries between reality and imagination often blurred under the soft glow of candlelight. He was a man of the brush and oil, finding his purpose in capturing the likenesses of his contemporaries and the quiet grandeur of historical moments.
His path was one of deep connection to the French school. Through his hands, the tension of the era found form on canvas. He possessed a particular talent for portraiture, looking beyond the mere surface of a face to find the essence of the person within. In 1857, he presented Portrait d’Adélaïde Ristori, a work that spoke to the dramatic spirit of his age. He did not merely record features; he sought to translate the internal pulse of his subjects into pigment and light.
Scheffer’s interests often drifted toward the weight of history and the gravity of conflict. He found a certain resonance in the stories of kings and the movements of armies. His work Henri III, commencement de siège de Paris, created around 1869, shows his ability to handle the heavy themes of war and siege with a focused intensity. There is a structured precision in his approach, even when dealing with the chaos of historical upheaval. He could move from the intimate scale of a portrait to the broader, more turbulent scenes of French history.
His technical skill extended beyond the grand narrative to the specific details of personhood and place. He captured the rigid dignity of military life in works such as Portrait d’Emmanuel DAGUILHON-PUJOL en uniforme, where the insignia of the Legion of Honour and the medals of the Crimean War were rendered with careful attention. Even his landscapes, like Vue de Venise, suggest a man who found beauty in the specific light of a distant city. His medium was primarily oil, though he also worked upon paper, leaving behind traces of his vision in both formats.
The flame of his creativity burned brightly but briefly. After a life spent navigating the intellectual and artistic currents of Paris, his journey took him far from the Seine. He passed away in Venice on 27 June 1873. Though his time was short, the marks he left upon the canvas remained. His legacy is found in the quiet corners of collections where his portraits continue to gaze back at the viewer, holding the secrets of a vanished era within their layers of oil and shadow.