Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 1 works by Adèle Martin in our catalogue
In short
Adèle Martin's best-known piece is The Arrest of Joan of Arc (1835). We have 1 works by Adèle Martin in our catalogue; this guide picks out the 1 best known, with the year, the museum and the story of each piece.
The dated Adèle Martin pieces on this page all come from 1835. Here they are, in order of fame.
Pick a year to see its pieces.
Top of the list is The Arrest of Joan of Arc (1835).
34 years old. Adèle Martin was born in 1801, and The Arrest of Joan of Arc dates from 1835.
We have 1 works by Adèle Martin in our catalogue.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
Born in Dijon, France, in 1801, Joséphine Adèle Marie Martin lived a life that saw her move from the quietude of her birthplace to the bustling energy of Paris. Known to many as Adèle Martin or Adèle Dugied, she was a woman who found her voice through the brush. Her presence in the art world was most felt between 1831 and 1847, a period when she established herself as a painter capable of capturing both the dignity of a sitter and the weight of a historical moment.
Her marriage to Pierre Dugied in 1837 marked a chapter in her personal life, yet her identity remained deeply tied to her craft. She navigated the social and professional landscapes of mid-nineteenth-century France, leaving behind works that reflect the era's preoccupation with character and narrative. Her legacy is preserved in collections such as Le musée Magnin de Dijon, where her hand remains visible to those who seek the stories of the past.
Adèle Martin’s work moved between the intimate and the dramatic. She possessed the ability to focus on the subtle nuances of a person's face or the tension of a historical scene. Her repertoire included:
In her portraits, there is a sense of the individual, a way of freezing a moment of quietude or social standing. When she turned her attention to history, as seen in her depiction of Joan of Arc, the scale of her ambition shifted. She sought to translate the gravity of legend into a visual language that her contemporaries could recognize and feel.
Though her active years as a painter were concentrated in a specific window of time, the impact of her work endured. She died in Dijon in 1875, leaving behind a body of work that speaks to the skill of a woman who carved out a space for herself in a demanding profession. Her paintings remain as physical traces of her life, offering a window into the visual culture of nineteenth-century France.
