Regret (1849)はAlexandre Robertの最も有名な作品であり、ゲントのMuseum of Fine Arts Ghent (MSK)に所蔵されています。 The Architect Tieleman Franciscus Suys (1860)とThe Painter Jean Baptiste Madou (1862)は、世界で最もよく知られている次の2つの作品です。 当カタログに含まれるAlexandre Robertの7作品の中から、コレクターや美術館の来館者が最も注目する5作品を厳選しました。各作品の制作年、所蔵美術館、そしてその背景にある物語をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026 このページに掲載されているすべての名作は、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
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 | Alexandre Robertの作品 | このリストの絵画 |
|---|---|---|---|
 アントウェルペン王立美術館 |
アントウェルペン | 3 | The Architect Tieleman Franciscus Suys, The Painter Jean Baptiste Madou, Singing Lesson |
 Museum of Fine Arts Ghent (MSK) |
ゲント | 2 | Regret, Portrait of the Professor Adolphe Burggraeve |
Regret (1849)（Museum of Fine Arts Ghent (MSK), ゲント）。続いてThe Architect Tieleman Franciscus Suys (1860)、そしてThe Painter Jean Baptiste Madou (1862)が続きます。
32歳：Regretは1849年の作品で、Alexandre Robertは1817生まれです。
当カタログには、1849年から1889年にかけて制作されたAlexandre Robertによる7点の作品が掲載されています。
その多くはアントウェルペン王立美術館 (アントウェルペン) と Museum of Fine Arts Ghent (MSK) (ゲント)に所蔵されています。上記の表に各美術館を一覧で記載しています。
1860sにおける作品は、このページにある全5点のうち2点にのぼり、その中にはThe Architect Tieleman Franciscus Suysが含まれます。
このページで最も古い作品はRegret (1849)、最新の作品はSinging Lesson (1889)です。
The Architect Tieleman Franciscus Suys, The Painter Jean Baptiste Madou と Singing Lessonは、アントウェルペン王立美術館, アントウェルペンが所蔵するこのページ内の3点の作品のうちの一つです。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
Born in Trazegnies, Belgium, Alexandre Robert was a man whose destiny shifted from the rigid expectations of a military career to the quiet devotion of the studio. Though his father, a notary, had envisioned a life of service in the armed forces, the young boy found his true calling through the simple act of sketching his classmates in small notebooks. This innate talent led him to the Brussels Academy, where he studied under François-Joseph Navez. Under this guidance, his early works began to emerge, including a 1838 portrait of his own father that marked the beginning of his professional path.
His thirst for knowledge eventually pulled him away from the familiar borders of Belgium. He traveled through Paris and later settled in Rome between 1846 and 1849, accompanied by Jean-François Portaels. These years abroad were formative, as he spent much of his time studying the great masters within the Louvre, finding inspiration in the works of Raphael and Poussin, as well as the Spanish paintings held in the Aguado de las Marismas gallery. This period of wandering through Germany, Switzerland, and Italy allowed him to refine a style that would later define his reputation.
As his career matured, Robert became a sought-after figure among the Belgian aristocracy and the bourgeoisie. His ability to capture the human spirit was particularly noted in his portraiture, where he possessed an introspective skill that brought faces to life. He was commissioned by the government to paint Baron de Stassart and found favor with the royal family, painting portraits of Leopold II and other members of the Belgian court. His work often featured a deep realism, characterized by eyes that seemed to hold a living presence and skin tones that reacted to light with remarkable sensitivity.
Beyond the faces of the elite, Robert dedicated much of his energy to religious and historical subjects. He achieved significant recognition at the Brussels Salon, earning a gold medal in 1848 for his work Lucas Signorelli Painting His Dead Son. His religious paintings, such as The Martyrdom of Sainte-Barbe and Moses on the Mountain, found homes in the churches of Trazegnies and Courcelles. This duality of subject matter—the intimate portrait and the grand historical narrative—formed the core of his artistic output.
The later years of Robert's life were defined by his commitment to passing on his knowledge to the next generation. He held significant positions at the Académie royale des beaux-arts de Bruxelles, serving as a professor from 1864 and eventually rising to the position of director of the painting course in 1881. His influence extended through his students, including Auguste Bourotte, Rémy Cogghe, and Albert Delstanche, ensuring that his technical approach to oil on canvas and wood continued to resonate.
His life concluded in Saint-Josse-ten-Noode, Brussels, leaving behind a body of work that remains distributed across various prestigious institutions. His paintings can be found in the following locations: