Maleriet, der gjorde Laurent Guyard berømt, er Farewell of Aeneas from Dido (1776); det hænger på Museo Glauco Lombardi i Parma. Af de 2 værker af Laurent Guyard i vores katalog er disse 2 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
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.
Farewell of Aeneas from Dido is a terracotta sculpture created by Laurent Guyard. The work dates to about 1776. This piece captures a moment of intense physical and emotional proximity between two figures, rendered in clay to emphasize the tactile nature of their embrace.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Laurent Guyard | Malerier fra denne liste |
|---|---|---|---|
 Museo Glauco Lombardi |
Parma | 2 | Farewell of Aeneas from Dido, Minerva |
Kun 4 år adskiller Laurent Guyards første og sidste daterede mesterværker, 1773 og 1776: her er den korte karriere, år for år.
Farewell of Aeneas from Dido is a terracotta sculpture created by Laurent Guyard. The work dates to about 1776. This piece captures a moment of intense physical and…
Farewell of Aeneas from Dido (1776)
53 år gammel: Farewell of Aeneas from Dido er fra 1776, og Laurent Guyard blev født i 1723.
Vores katalog indeholder 2 værker af Laurent Guyard, dateret fra 1773 til 1776.
De fleste af dem findes i Museo Glauco Lombardi (Parma). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Minerva (1773), det seneste Farewell of Aeneas from Dido (1776).
Farewell of Aeneas from Dido og Minerva er blandt de 2 værker på denne side, som er i Museo Glauco Lombardi, Parma'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.
The story of Laurent Guyard is one of remarkable transformation, beginning far from the grand academies of Europe in the modest surroundings of Chaumont en Bassigny. Born into a family of limited means, his early life was marked by the grit of manual labor; he was initially apprenticed to a blacksmith, a vocation that likely instilled in him a profound understanding of form and the physical strength required for his eventual mastery. Yet, even amidst the heat of the forge, his innate talent for drawing could not be ignored. This latent brilliance eventually led him to Paris, where he sought formal training under the esteemed Jean-Baptiste Bouchardon. It was here that the raw potential of a blacksmith's apprentice began to coalesce into the refined skill of a sculptor, earning him the prestigious grand prix of sculpture in 1750.
Despite his rising talent, Guyard’s path was not without profound struggle. The shadows of professional jealousy cast by his own master, who sought to obstruct his progress and bar him from the gates of the Academy, forced the artist into a period of expatriation. This displacement, however, became the catalyst for his greatest triumphs. Seeking refuge and opportunity beyond the borders of France, he found himself drawn to the heart of classical inspiration. His reputation preceded him, eventually leading him to Parme, where he was welcomed by the grace of duke Ferdinand I. In the vibrant artistic atmosphere of Italy, particularly within the marble-rich environs of Carrara, Guyard flourished, finding the patronage and the medium necessary to realize his most ambitious visions.
The oeuvre of Laurent Guyard reflects a deep reverence for classical antiquity and the dramatic narratives of myth. His work often captured the tension and emotion found in ancient legends, such as his poignant depictions involving Aeneas. Whether working in the permanence of marble or the preparatory delicacy of plaster, his ability to breathe life into stone was evident in works like:
Through his ability to navigate the complexities of political patronage and personal adversity, Guyard left an indelible mark on the sculptural landscape of the eighteenth century. His life remains a testament to the power of artistic perseverance, moving from the anvil of a blacksmith to the heights of European neoclassicism.