Portrait de Mme Savary, duchesse de Rovigo (1840)はDaniel Saintの最も有名な作品です。 Portrait of the duchess of berryとUnknown Man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Daniel Saint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。
Daniel Saint was a worthy successor to prominent portrait-miniaturist Jean-Baptiste-Jacques Augustin; Saint rose to prominence painting official portraits of Napoleon and members of his court. While his early works are soft and vaporous in style, the mature works are more precisely painted with a pure, vibrant palette.Saint’s
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 | Daniel Saintの作品 | このリストの絵画 |
|---|---|---|---|
| ストックホルム | 2 | Unknown Man, Charles X, King of France and Navarre | |
| シャンボール | 1 | Portrait of the duchess of berry |
1840年から1842年までの計3年間にわたり、Daniel Saintはこのページに掲載されているすべての年代付き作品を描きました。ここでは、それらを年ごとにご紹介します。
Daniel Saint was a worthy successor to prominent portrait-miniaturist Jean-Baptiste-Jacques Augustin; Saint rose to prominence painting official portraits of Napoleon and members of his court. While his early…
Portrait de Mme Savary, duchesse de Rovigo (1840)。続いてPortrait of the duchess of berry、そしてUnknown Manが続きます。
62歳:Portrait de Mme Savary, duchesse de Rovigoは1840年の作品で、Daniel Saintは1778生まれです。
当カタログには、1840年から1842年にかけて制作されたDaniel Saintによる7点の作品が掲載されています。
その多くは国立美術館 (ストックホルム) と シャトー・ド・シャンボール (シャンボール)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。
このページで最も古い作品はPortrait de Mme Savary, duchesse de Rovigo (1840)、最新の作品はLady with a Greyhound (1842)です。
Unknown Man と Charles X, King of France and Navarreは、国立美術館, ストックホルムが所蔵するこのページ内の2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。
Daniel Saint (French, b.1778, d.1847) stands as a pivotal figure in the history of French miniature painting during the Romantic era. Born in the quiet town of Saint Lô, Normandy, he emerged from humble beginnings to become one of the most celebrated portraitists of his time, lauded for his unparalleled ability to capture emotion and nuance within exquisitely detailed canvases often no larger than six inches square. His distinctive style—characterized by a soft, vaporous technique—established him as an innovator who subtly departed from established conventions, marking a significant shift toward Impressionistic sensibilities long before the movement officially took hold.
Saint’s formative years were shaped by rigorous academic training under the esteemed Jean-Baptiste Regnault at the École Royale Supérieure des Beaux-Arts in Paris. Studying alongside talented contemporaries such as Augustine Aubry and François Auguste Clément, Saint absorbed the foundational principles of the School of David while simultaneously fostering a unique artistic imagination. This period of mentorship was crucial, as it provided him with the technical discipline required for precision, yet allowed him to explore the psychological depth that would become his hallmark. Interestingly, his early exposure to craftsmanship was likely influenced by his father, a printer, whose profession instilled in Saint a lifelong meticulous attention to detail and an appreciation for visual communication.
What truly set Daniel Saint apart from the masters of his era was his pioneering approach to medium and method. While many of his contemporaries, such as Isabey, relied heavily on traditional glazing methods to achieve depth, Saint embraced a groundbreaking use of hatching. By drawing closely spaced parallel lines to create tonal shading, he achieved remarkable effects of light and shadow that conveyed texture with astonishing subtlety. This technique allowed him to move away from overly polished, porcelain-like surfaces in favor of a matte finish, lending his portraits an ethereal, atmospheric quality that mirrored the Romantic preoccupation with mood and psychological realism.
As his career progressed, Saint’s work underwent a fascinating evolution. His early compositions were celebrated for their soft, vaporous, and almost dreamlike qualities, capturing the fleeting elegance of the era. However, as he matured, his palette became more pure and vibrant, and his brushwork grew increasingly precise. This transition allowed him to navigate the shifting political landscapes of France with ease, moving from the delicate aesthetics of the late 18th century into a more robust and commanding style that suited the grandeur of the Napoleonic age.
The historical significance of Daniel Saint is inextricably linked to the heights of French political power. He rose to prominence as a worthy successor to the great portrait-miniaturist Jean-Baptiste-Jacques Augustin, eventually earning the prestigious opportunity to paint official portraits of Napoleon Bonaparte and members of his imperial court. His ability to capture the likenesses of figures such as Empress Josephine and Queen Hortense ensured his place in the annals of French history, as his miniatures served not just as art, but as intimate, portable icons of power and familial connection.
Beyond the imperial court, Saint's influence extended through his mastery of the miniature format, an art form that demanded extreme technical virtuosity. His works remain a testament to a period where the small-scale canvas could hold the weight of an entire era's emotions. Today, his legacy is preserved in collections worldwide, recognized for: