The Death of Pallas (1778) je obraz, podle kterého je nejznámější Jacques Sablet; nachází se v Muzeum umění Houston, Houston. The Temple of the Liberal Arts, with the City of Bern and Minerva (1779) a Helen Saved by Venus from the Wrath of Aeneas (1779) doplňují trio nejoblíbenějších pláten. Náš katalog obsahuje 22 děl umělce Jacques Sablet. Zde je 22 nejznámějších děl včetně roku vzniku, muzea a příběhu každého plátna.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
8 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Jacques Sablet | Obrazy z tohoto seznamu |
|---|---|---|---|
| Los Angeles | 3 | The Temple of the Liberal Arts, with the City of Bern and Minerva, Helen Saved by Venus from the Wrath of Aeneas, Portrait of Eleonora Chigi, Princess of Teano | |
| Stockholm | 2 | The Self-sacrifice of a father, Dance near Naples | |
| Edinburgh | 2 | La diseuse de bonne aventure (The Fortune Teller), L'heureuse famille | |
| Houston | 1 | The Death of Pallas | |
| Montreal | 1 | Family Portrait in front of a Harbour | |
| Bayonne | 1 | Italian Woman in an Interior | |
| Aix-en-Provence | 1 | Portrait of Letizia Bonaparte | |
| Paříž | 1 | PAYSANNES DE FRASCATI DANS UN PAYSAGE |
The Death of Pallas (1778), Muzeum umění Houston, Houston. Následují The Temple of the Liberal Arts, with the City of Bern and Minerva (1779) a Helen Saved by Venus from the Wrath of Aeneas (1779).
Jacques Sablet, narozen 1749, měl 29 let: dílo The Death of Pallas pochází z roku 1778.
The Death of Pallas, The Temple of the Liberal Arts, with the City of Bern and Minerva, Helen Saved by Venus from the Wrath of Aeneas, The Self-sacrifice of a father, Dance near Naples, Portrait of an Artist, also called: Self-portrait, Peasants from Frascati in a landscape, Portrait of Eleonora Chigi, Princess of Teano, Family Portrait in front of a Harbour a La diseuse de bonne aventure (The Fortune Teller). U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.
V našem katalogu je 22 děl umělce Jacques Sablet, datovaných od 1778 do 1800.
Většinou v Los Angeles County Museum of Art (Los Angeles), Nationalmuseum (Stockholm) a Scottish National Gallery (Edinburgh); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1780s, které tvoří 4 z 22 děl na této stránce, mezi nimi i The Self-sacrifice of a father.
Nejstarší plátno se zde datuje do The Death of Pallas (1778); nejnovější je z Family Portrait in front of a Harbour (1800).
Muzeum Los Angeles County Museum of Art, Los Angeles se vlastní 3 děl z této stránky, mezi nimiž jsou i The Temple of the Liberal Arts, with the City of Bern and Minerva, Helen Saved by Venus from the Wrath of Aeneas a Portrait of Eleonora Chigi, Princess of Teano.
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
The history of eighteenth-century painting is often told through the grand, sweeping gestures of monumental history painters, yet some of its most profound beauty resides in the quiet, sun-drenched moments captured by masters of genre. Jacques-Henri Sablet, a Swiss-born painter who would eventually leave an indelible mark on the Parisian art scene, was such a master. Born in 1749 in Morges, near Lausanne, Sablet’s early life was steeped in the traditions of craftsmanship. As the son of Jacob Sablet, a respected gilder and picture dealer, his very foundation was built upon an intimate understanding of color, texture, and the meticulous detail required to adorn the grand estates of Europe. This upbringing instilled in him a reverence for the fine details that would later define his ability to breathe life into the seemingly mundane.
Sablet’s journey from the shores of Lake Geneva to the heart of the French art world was a path paved with ambition and academic rigor. After initial training in Lausanne, he moved through Lyon before arriving in Paris in 1772. It was here, alongside his brother Jean-François, that he entered the prestigious Académie royale de peinture et de sculpture. Under the tutelage of Joseph-Marie Vien, Sablet began to refine a style that balanced the structured elegance of Neoclassicism with a burgeoning sensitivity toward light and atmosphere. While his brother found success within the rigid hierarchies of the Academy, Jacques-Henri’s path was more wandering and perhaps more poetic, leading him away from the formal constraints of historical epic toward the intimate charm of landscape and genre painting.
A pivotal transformation occurred in 1775 when Sablet traveled to Rome, a move that would fundamentally alter the trajectory of his career. Immersed in the classical grandeur of Italy, he became part of a vibrant community of expatriate artists, earning various monikably names such as Sablet le Romain or even le peintre du Soleil—the painter of the Sun. This period was not merely about studying ancient ruins; it was an era of profound emotional discovery. His work began to reflect the warmth of the Italian light and the idyllic, often nostalgic, atmosphere of the Roman countryside.
One of his most poignant achievements from this era is Les premiers pas de l'enfance (Primi passi), a work that showcases his ability to capture the fleeting innocence of childhood. In this piece, as in much of his Roman output, there is a masterful use of light that seems to glow from within the canvas, lending a sense of eternal peace to the scene. His fascination with the Campagna—the sweeping Italian landscapes—allowed him to explore themes of romance, music, and leisure. Whether depicting an elegant figure listening to a guitarist in a tranquil park or the rhythmic labor of Italian washerwomen, Sablet possessed a unique gift for elevating everyday life into something timeless and sublime.
As the eighteenth century transitioned into the nineteenth, Sablet’s work stood as a bridge between the ordered grace of the Enlightenment and the emotive depth of the Romantic movement. Though he may not have sought the political or religious grandiosity of his contemporaries, his significance lies in his ability to find the extraordinary within the ordinary. His paintings serve as windows into a lost world of 18th-century elegance, where the rustle of silk and the soft shadows of an Italian afternoon are preserved with exquisite precision.
The enduring legacy of Jacques-Henri Sablet can be summarized through several key artistic contributions:
Though he passed away in Paris in 1803, Sablet’s vision remains vibrant. His works continue to enchant collectors and historians alike, offering a serene escape into an era defined by grace, light, and the simple joys of existence.