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Regret
Ročno slikana oljna reprodukcija od $181 29 × 35 cm
Velikost kot pri originalu $290 60 × 76 cm Naročite v originalni velikosti →
Regret (1849) je najbolj znano sliko avtorja Alexandre Robert, ki se nahaja v muzeju Museum of Fine Arts Ghent (MSK) v mestu Gent. The Architect Tieleman Franciscus Suys (1860) in The Painter Jean Baptiste Madou (1862) sta naslednji dve dela, ki jih svet najbolje pozna. Od 7 del umetnika Alexandre Robert v našem katalogu so tu tista 5, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
Uvrščeno na podlagi naše ocene priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
2 muzejev, ki vsebujo največ slik na tej strani.
| Muzeji | Mesto | Sloga Alexandre Robert | Slike iz tega seznama |
|---|---|---|---|
 Kraljevski muzej lepih umetnosti v Antwerpu |
Antverp | 3 | The Architect Tieleman Franciscus Suys, The Painter Jean Baptiste Madou, Singing Lesson |
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Regret, Portrait of the Professor Adolphe Burggraeve |
Regret (1849), Museum of Fine Arts Ghent (MSK), Gent. Nato sledeta The Architect Tieleman Franciscus Suys (1860) in The Painter Jean Baptiste Madou (1862).
32 let: delo Regret iz leta 1849, pri čemer je Alexandre Robert rodil/a v 1817.
V našem katalogu je navedenih 7 del avtorja Alexandre Robert, datiranih od 1849 do 1889.
Večina njih se nahaja v Kraljevski muzej lepih umetnosti v Antwerpu (Antverp) in Museum of Fine Arts Ghent (MSK) (Gent). Zgornja tabela navaja muzeje posamezno.
V obdobju 1860s: 2 od 5 del na tej strani izvira iz tega obdobja, med katerimi je The Architect Tieleman Franciscus Suys.
Najstarejšo delo na tej strani je iz Regret (1849), najnovejše pa iz Singing Lesson (1889).
The Architect Tieleman Franciscus Suys, The Painter Jean Baptiste Madou in Singing Lesson so med 3 dela na tej strani, ki jih hrani Kraljevski muzej lepih umetnosti v Antwerpu, Antverp.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
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: