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Alexandre Cabanel
The Death of Francesca da Rimini and Paolo Malatesta
1870
Musee d'Orsay, Paris
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Alexandre Cabanel
The Birth of Venus
1863
Musee d\'Orsay, Paris
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Alexandre Cabanel
La Comtesse de Keller
1873.
3' 3" x 2' 6" ( 99x76 cm ).
Gift of Marquis and Marquis de Saint - Yves d'Alveydre, 1889.
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Alexandre Cabanel
Prince K A Gorchakov (san 05)
1868
(Inv No 5093)Oil on canvas 26 1/2 x 22''(67 x 56 cm)(Ex coll Gorchakov St Petersburg)
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Alexandre Cabanel
The Birth of Venus
mk156
c.1863
Oil on canvas
130x225cm
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Alexandre Cabanel
The Love of Acis and Galatea
mk221
1827
Oil on canvas
146x113.7cm
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Alexandre Cabanel
Eleopatra Trying Out the Poison on Prisoners Sentenced to Death
mk221
1887
Oil on canvas
87.6x148cm
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Alexandre Cabanel
The Birth of Venus
mk235
1863
Oil oncanvas
130x225cm
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Alexandre Cabanel
Ophelia
Date 1883(1883)
Medium Oil on canvas
Dimensions 77 X 117.5 cm (30.31 X 46.26 in)
cyf
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Alexandre Cabanel
Albayde
Date 1848(1848)
Medium Oil on canvas
Dimensions 98 X 80 cm (38.58 X 31.5 in)
cyf
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Alexandre Cabanel
Aglaida and Boniface
19th century
Medium oil on canvas
cyf
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Alexandre Cabanel
Harmonie
1877(1877)
Medium Oil on canvas
cyf
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Alexandre Cabanel
Alexandre Cabanel
Oil on Canvas
Date 1868
cyf
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| Alexandre Cabanel
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1823-1889
French Alexandre Cabanel Locations
French painter and teacher. His skill in drawing was apparently evident by the age of 11. His father could not afford his training, but in 1839 his departement gave him a grant to go to Paris. This enabled him to register at the Ecole des Beaux-Arts the following October as a pupil of Francois-Edouard Picot. At his first Salon in 1843 he presented Agony in the Garden (Valenciennes, Mus. B.-A.) and won second place in the Prix de Rome competition (after Lon Benouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and Benouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel Death of Moses (untraced), an academic composition, painted to comply with the regulations of the Ecole de Rome, was exhibited at the Salon of 1852. The pictures he painted for Alfred Bruyas, his chief patron at this time (and, like Cabanel, a native of Montpellier), showed more clearly the direction his art had taken during his stay in Italy. Albayde, Angel of the Evening, Chiarruccia and Velleda (all in Montpellier, Mus. Fabre) were the first of many mysterious or tragic heroines painted by Cabanel and show his taste for the elegiac types and suave finish of the Florentine Mannerists.
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