Van alle schilderijen van Hippolyte Guy is Dead End of the Bœufs (1900) het bekendst; het hangt in het Musée Carnavalet in Parijs. Van de 1 werken van Hippolyte Guy in onze catalogus zijn dit de 1 meest gevierde werken, elk getoond met de datum, het museum en het verhaal erachter.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde oliereductie op linnen canvas, of als een fine art print, uitgevoerd in de door u gekozen afmeting.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Hippolyte Guy | Schilderijen uit deze lijst |
|---|---|---|---|
| Parijs | 1 | Dead End of the Bœufs |
Eén jaar, 1900, bevat elk gedateerd canvas van Hippolyte Guy op deze pagina: hier zijn ze, de beroemdste eerst.
Dead End of the Bœufs (1900)
Hippolyte Guy, geboren in 1868, was 32 jaar oud: Dead End of the Bœufs dateert uit 1900.
1 werken van Hippolyte Guy staan in onze catalogus.
Voornamelijk in Musée Carnavalet (Parijs); de bovenstaande lijst vermeldt elk museum en de bijbehorende doeken.
Ja. Elk schilderij op deze pagina kan via de eigen pagina worden besteld als een handgeschilderd olieverfreproductie, of als een fine art print, in de door u gekozen afmeting.
Born in the southern city of Toulouse, France, Hippolyte Guy emerged from a lineage of craftsmanship, being the son of a lithographer. His early years in the south provided the foundation for a life dedicated to the brush and the canvas. He eventually moved toward the academic traditions of Paris, seeking the guidance of masters such as Albert Maignan and Léon Bonnat. Under their tutelage, he refined a technique that would eventually lead him to the prestigious Salon, where he began exhibiting his vision to the public starting in 1886.
His ascent within the French art establishment was marked by steady recognition and formal honors. He became a member of the Société des artistes français, a distinction that spoke to his standing among his peers. His career was punctuated by several significant accolades that reflected the evolving respect of his contemporaries:
As his reputation grew, Guy settled in Paris, residing on the rue de la Tombe-Issoire. His life was one of quiet dedication to his craft, far from the tumultuous shifts of the avant-garde movements that often defined the era. He lived a solitary life, eventually passing away in Clichy at the age of sixty-eight. His presence in the Parisian art scene was felt through his contributions to the Salon and his ability to secure medals that validated his technical skill and his adherence to the traditions of French painting.
His work often captured specific, localized scenes that have found their way into the permanent collections of various institutions. One such work, Dead End of the Bœufs, painted around 1900, resides in the Musée Carnavalet. This piece, along with others held in the Musée des Augustins and the Musée Joseph-Denais, reflects a painter deeply concerned with the atmosphere and the quiet details of French life and religious devotion.