Aktualizováno říjen 2026 · seřazeno podle našeho skóre popularity (vyhledávání, návštěvy a objednávky u každého díla) · 8 děl umělce Alexander Kucharsky v našem katalogu
Stručně řečeno
Nejznámějším dílem, které pochází od Alexander Kucharsky, je obraz Portrait of Ignacy Potocki (1750-1809) (1780), který můžete vidět v instituci Národní muzeum ve Varšavě ve městě Varšava. Hned za ním následují Queen Marie-Antoinette, Queen of France (1755–1793) as Widowed Prisoner in the Temple, 1793 (1793) a Portrait of Marie Antoinette (1791). Z 8 děl umělce Alexander Kucharsky v našem katalogu je těchto 8 těch nejznámějších. U každého díla je uveden rok vzniku, muzeum a krátká poznámka o tom, co jej činí výjimečným.
The pastel portrait of “Madame Barbier-Walbonne,” painted in 1808 by the Polish artist Alexandre Kucharski, is more than a simple likeness; it’s a carefully constructed tableau of aristocratic grace and understated power. Displayed within the hallowed halls of the Louvre Museum in Paris, this work offers a glimpse into the world of late 18th-century French society – a world defined by intricate social rituals, refined tastes, and a burgeoning appreciation…
Čtyři nejčastější motivy těchto děl, z nichž každý má svůj nejznámější příklad.
7 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzea | Město | Díla autora Alexander Kucharsky | Obrazy z tohoto seznamu |
|---|---|---|---|
 Národní muzeum ve Varšavě |
Varšava | 1 | Portrait of Ignacy Potocki (1750-1809) |
 Sudbury Hall |
Ashbourne | 1 | Queen Marie-Antoinette, Queen of France (1755–1793) as Widowed Prisoner in the Temple, 1793 |
 Opera House |
Versailles | 1 | Portrait of Marie Antoinette |
 Královský zámek ve Varšavě |
Varšava | 1 | Marie Antoinette in the Temple prison |
 Musée Carnavalet |
Paříž | 1 | Portrait de Marie Antoinette au Temple. |
 Fries Museum |
Leeuwarden | 1 | La reine Marie Antoinette en habit de veuve à la prison de la Conciergerie |
 Louvre |
Paříž | 1 | Madame Barbier-Walbonne |
Vyberte si desetiletí a prohlédněte si jeho nejvýraznější dílo.
Na vrcholu žebříčku je Portrait of Ignacy Potocki (1750-1809) (1780), Národní muzeum ve Varšavě, Varšava. Hned za ním následují: Queen Marie-Antoinette, Queen of France (1755–1793) as Widowed Prisoner in the Temple, 1793 (1793) a Portrait of Marie Antoinette (1791).
39 let. Alexander Kucharsky se narodil(a) v 1741 a dílo Portrait of Ignacy Potocki (1750-1809) pochází z roku 1780.
V našem katalogu máme 8 děl umělce Alexander Kucharsky z let 1780 až 1815.
Většinu z nich najdete v Národní muzeum ve Varšavě (Varšava), Sudbury Hall (Ashbourne) a Opera House (Versailles). Seznam muzeí výše obsahuje podrobný přehled.
V období 1790s, více než v jakémkoli jiném čase: 2 z 8 děl na této stránce pochází z této doby, z nichž Queen Marie-Antoinette, Queen of France (1755–1793) as Widowed Prisoner in the Temple, 1793.
Nejstarší dílo je z Portrait of Ignacy Potocki (1750-1809) (1780); nejnovější je z Portrait de Marie Antoinette au Temple. (1815).
Ano. Každý obraz na této stránce je k dispozici jako ručně malovaná olejná reprodukce nebo jako tisk v rozměru, který vám vyhovuje. Pro objednání stačí otevřít stránku daného obrazu.
Warsaw, 1741. A boy is born into Polish nobility, destined for a life shaped by the shifting borders of Europe. This child, Aleksander Kucharski, begins his path not in a studio, but as a page to King Stanisław II Augustus. The halls of the Polish court provide his first lessons in power and etiquette. Under the guidance of Marcello Bacciarelli, his hands learn the discipline of the brush. The King sees potential for a historical painter, yet the boy’s talent pulls him toward something more intimate: the face.
The transition from Warsaw to Paris marks a definitive shift. With a bursary from the Polish King, Kucharski arrives in the French capital to study at the Académie Royale. Between 1760 and 1769, he absorbs the techniques of Joseph-Marie Vien and Carle van Loo. He is no longer merely a student; he is an artist refining his ability to capture light through oil, pastel, and gouache. His work begins to earn medals from the academy, yet the patronage of his homeland begins to flicker. The King, disappointed by a lack of grand historical canvases, withdraws his financial support.
Paris becomes his permanent home. Kucharski finds a new rhythm among the French and Polish aristocracy. He moves through the circles of the Princes de Condé, teaching painting to Princess Louise-Adélaïde de Bourbon-Condé. His specialty emerges: the half-length portrait. Using pastels, he achieves a luminosity that mimics oil, capturing the delicate lace of a collar or the soft texture of skin with surgical precision.
Then comes the appointment that defines his legacy. Following the departure of Élisabeth-Louise Vigée-Le Brun in 1789, Kucharski becomes the painter to Queen Marie Antoinette. He documents the royal family during their most turbulent hours. His portraits are more than likenesses; they are records of a collapsing era.
The tension of the French Revolution manifests in his very canvases. One pastel of the Queen, worked on in 1791, bears the physical scars of history—marks left by two thrusts of a pike during a mob's intrusion into the Tuileries. He continues to paint even as the world burns around him. In 1793, he captures the Queen in her final, somber state: a widow in prison, stripped of her former glory.
As the Revolution settles into a new order, Kucharski remains loyal to the old regime. He survives by producing copies of his earlier works for those who still cling to the memory of the Bourbon monarchy. His life moves away from the frantic energy of the court toward the quiet of Sainte-Périne, near Paris. Even in retirement, the crown provides a tether; King Louis XVIII grants him a pension.
His later years are spent in a state of dignified withdrawal. He marries Marguerite Charvet and finds himself supporting an apprentice, Aglaé Bamberg, much as he was once supported by kings. When death arrives in Paris in 1819, he is laid to rest in the Père Lachaise Cemetery. He leaves behind a body of work that serves as a visual ledger of the French aristocracy's final, gilded moments.
