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Portrait de Mme Savary, duchesse de Rovigo
Ręcznie malowana reprodukcja olejowa od $181 25 × 41 cm
Portrait de Mme Savary, duchesse de Rovigo (1840) to najsłynniejszy obraz autorstwa Daniel Saint. Portrait of the duchess of berry i Unknown Man to dwa kolejne dzieła, które świat zna najlepiej. Z 7 dzieł Daniel Saint w naszym katalogu, oto 5 najczęściej wybieranych przez kolekcjonerów i zwiedzających muzea, wraz z rokiem powstania, informacją o muzeum oraz historią każdego z nich.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Listopad 2026. Każde arcydzieło na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny, w wybranym przez Ciebie rozmiarze.
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
2 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Daniel Saint | Obrazy z tej listy |
|---|---|---|---|
 Nationalmuseum |
Stockholm | 2 | Unknown Man, Charles X, King of France and Navarre |
 Château de Chambord |
Chambord | 1 | Portrait of the duchess of berry |
Między 1840 a 1842, w sumie w ciągu 3 lat, Daniel Saint namalował każdy datowany utwór na tej stronie: oto one, rok po roku.
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). Następnie Portrait of the duchess of berry i Unknown Man.
62 lat: Portrait de Mme Savary, duchesse de Rovigo pochodzi z 1840, a Daniel Saint urodził(a) się w 1778.
Nasz katalog obejmuje 7 dzieł autorstwa Daniel Saint, datowanych od 1840 do 1842.
Większość z nich znajduje się w Nationalmuseum (Stockholm) i Château de Chambord (Chambord). Powyższa tabela zawiera listę muzeów po kolei.
Najwcześniejszy na tej stronie to Portrait de Mme Savary, duchesse de Rovigo (1840), najpóźniejszy Lady with a Greyhound (1842).
Unknown Man i Charles X, King of France and Navarre to jedne z 2 dzieł na tej stronie znajdujących się w zbiorach Nationalmuseum, Stockholm.
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną o jakości muzealnej lub jako wysokiej jakości wydruk artystyczny w wybranym przez Ciebie rozmiarze, bezpośrednio ze strony danego dzieła.
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: