Portrait de Mme Savary, duchesse de Rovigo (1840) to obraz, z którego najbardziej znany jest Daniel Saint. Portrait of Lodewijk Napoleon Bonaparte (1810) oraz Portrait of the duchess of berry dopełniają trio najbardziej uwielbianych płócien. Nasz katalog obejmuje 7 dzieł autorstwa Daniel Saint. Oto 6 najsłynniejszych z nich, wraz z rokiem powstania, informacją o muzeum oraz historią każdego płótna.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Listopad 2026. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną na płótnie lnianym lub jako wysokiej jakości wydruk artystyczny, wykonany w wybranym przez Ciebie formacie.
Portrait of Lodewijk Napoleon Bonaparte emerges from the shadows, a singular presence that commands the eye through the sheer intensity of its subject. This miniature portrait captures the likeness of the King of Holland, rendered with the precision required for such a small scale. The figure is presented with a sense of quiet dignity, emerging from a dark, atmospheric background that focuses all attention on the sitter. Every detail of…
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
3 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Daniel Saint | Obrazy z tej listy |
|---|---|---|---|
| Stockholm | 2 | Unknown Man, Charles X, King of France and Navarre | |
| Londyn | 1 | Portrait of Lodewijk Napoleon Bonaparte | |
| Chambord | 1 | Portrait of the duchess of berry |
33 lat światła i koloru w wydaniu Daniel Saint, od 1810 do 1842: najsłynniejsze płótna każdego roku, jedno po drugim.
Portrait of Lodewijk Napoleon Bonaparte emerges from the shadows, a singular presence that commands the eye through the sheer intensity of its subject. This miniature portrait captures the…
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), a następnie Portrait of Lodewijk Napoleon Bonaparte (1810) i Portrait of the duchess of berry.
Daniel Saint, urodzony/a w 1778, miał/a 62 lat: Portrait de Mme Savary, duchesse de Rovigo pochodzi z 1840.
W naszym katalogu znajduje się 7 dzieł artysty Daniel Saint, datowanych od 1810 do 1842.
Większość znajduje się w Nationalmuseum (Stockholm), Wallace Collection (Londyn) i Château de Chambord (Chambord); powyższa lista wymienia każde muzeum oraz jego płótna.
Najwcześniejsze płótno pochodzi z Portrait of Lodewijk Napoleon Bonaparte (1810), a najpóźniejsze z Lady with a Greyhound (1842).
Muzeum Nationalmuseum, Stockholm posiada 2 dzieł widocznych na tej stronie, w tym Unknown Man i Charles X, King of France and Navarre.
Tak. Każdy obraz na tej stronie można zamówić z jego własnej podstrony jako ręcznie malowaną reprodukcję olejną lub jako wysokiej jakości wydruk artystyczny w wybranym przez Ciebie rozmiarze.
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: