Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 1 teost Maximilien de Meuron meie kataloogis
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Untitled (1823) on Maximilien de Meuron kõige tuntum teos; originaal kuulub museumi Musée d'art et d'histoire, Neuchâtel. Meie kataloogis on 1 teost kunstnikult Maximilien de Meuron; siin on 1 kõige kuulsamat teost järjestatud aasta ja muuseumi järjekorras, et aidata teil valida soovitud teos.
Muuseum, milles on kõige rohkem sellel lehel esitatud maaleid.
| Muuseumid | Linn | Maximilien de Meuron teosid | Selle nimekirja maalid |
|---|---|---|---|
 Musée d'art et d'histoire |
Neuchâtel | 1 | Untitled |
Siin loeteldud kõik kuupidega Maximilien de Meuron maalid on aastatest 1823, järjestatud rangis järjekorras.
Valige aasta, et näha selle aasta teoseid.
Untitled (1823) on esikkohal.
Maximilien de Meuron oli 38 aastat vanus: teos Untitled on pärinev aastast 1823 ning Maximilien de Meuron sündis aastal 1785.
Kataloogist leiate 1 teost kunstnikult Maximilien de Meuron.
Peamiselt Musée d'art et d'histoire (Neuchâtel). Täielik nimekiri on esitatud ülalpool olevas muuseumide tabelis.
Jah. Kõik sellel lehel olevad maalid on tellitavad nii käsitööna valminud õlimaalide reproduktsioonina kui ka trükkina. Avage maali, valige suurus ja esitage tellimus.
Maximilien de Meuron entered the world on 8 September 1785 in Corcelles-près-Concise, born into the quiet dignity of an aristocratic family. His early years were shaped by the expectations of his station, yet a different calling began to stir within him through the guidance of others. His first steps into the realm of visual art were taken in Neuchâtel, where he received his initial lessons from a Piedmontese artist named Matthieu Ricco. This early instruction provided the foundation upon which his later sensibilities would be built.
As his interest in the brush and palette deepened, Maximilien de Meuron sought further refinement under the tutelage of Alexandre and Abraham Girardet. These mentors helped shape his developing hand, guiding him through the technical demands of his craft. His path was not a simple one, for he initially looked toward the world of law and diplomacy, even traveling to Berlin to pursue those studies. However, the pull of the landscape proved too strong to ignore. He eventually turned his focus back to the arts, seeking the wisdom of the landscape painter Janus Genelli to refine his vision of the natural world.
The path Maximilien de Meuron walked was not initially one of brushes and pigments, but of statutes and diplomacy. In Berlin, he sought to master the complexities of law, preparing himself for a career in the diplomatic service. This academic rigor was intended to lead him toward a life of statecraft, yet the pull of the visual arts remained a quiet, persistent presence in his mind. Even as he immersed himself in legal studies, he continued to refine his eye under the guidance of the landscape painter Janus Genelli.
By 1808, the call of his true vocation became too strong to ignore. He abandoned his position with the Department of Foreign Affairs to seek the light of Paris. In the French capital, his focus shifted from the logic of law to the grandeur of the Baroque. He spent his days studying the compositions of Claude Lorrain and Nicolas Poussin, absorbing the way they structured the natural world within their frames. This period of intense observation provided the foundation for his later understanding of landscape.
The hunger for direct experience soon led him away from the studios of Paris. In 1809, accompanied by his friend Gabriel Lory, he traveled to Italy. This excursion allowed him to witness the landscapes and classical ruins that had long been the subjects of his study, bridging the gap between the works of the masters and the reality of the terrain.
His brush sought the rugged grandeur of the natural world, finding particular inspiration in the heights of the Bernese Highlands. During the years 1818 and 1819, he spent his time among those mountains, capturing the landscape in the Romantic style. This period of study in the highlands allowed him to refine his vision of the wilderness before he sought the wider recognition of the great European art centers.
The artist's reputation grew as his works moved from the quiet mountains to the competitive halls of the major academies. In 1822, he presented his paintings at the Salon in Paris, a significant step for any painter of his era. His presence in the art world continued to expand, leading him to participate in an exhibition at the Academy of Arts in Berlin in 1824. This exposure proved fruitful, for by 1825, he had been named an honorary member of the Academy, a distinction that marked his standing among his peers, even though he chose to decline a formal professorship later on.
Beyond the quietude of his landscapes, Maximilien de Meuron felt a deep pull toward the governance and cultural enrichment of his homeland. His commitment to the public good led him into the halls of power when he was elected to the Grand Conseil of the Canton of Neuchâtel in 1824. This legislative role allowed him to influence the direction of his region, moving him from the solitary pursuit of art into the active management of civic affairs.
His passion for the arts was not limited to his own brushstrokes; he sought to foster a broader appreciation for craftsmanship and design among his fellow citizens. To this end, he became a tireless organizer of public exhibitions. He initiated the first exhibition of "objets d’art et d’industrie" in 1826, a venture that sought to bring together the finest works of art and industrial design. The success of this endeavor prompted him to organize a second exhibition in 1828, followed by a third in 1830. Through these gatherings, he helped create a space where local talent and technical skill could be recognized by the public.
The mid-1830s brought a profound shift to his life and spirit. In 1835, he dedicated his energies to organizing a major retrospective of the works of Louis Léopold Robert, a significant undertaking for the local art scene. However, personal tragedy soon cast a long shadow over his creative pursuits. Following the unexpected death of his eldest son, Maximilien, the painter retreated from his primary vocation. The weight of this loss was such that he largely gave up the practice of painting for many years.
A brief return to his craft occurred in 1842, when he traveled to Italy to engage in sketching. This period of sketching offered a quiet reconnection with the landscape, yet he never fully returned to the disciplined habits of his earlier career. He spent his remaining years focused less on the canvas and more on the stewardship of art, dedicating himself to the organization of exhibitions and the promotion of local artists within his community. He remained a constant presence in the cultural life of Neuchâtel until his death on 27 February 1868.
The artist’s influence extended deeply into his own household, shaping the hands of the next generation. His youngest son, Albert de Meuron, followed a similar path, finding his first art lessons at the hands of his father. This early instruction provided the foundation for Albert’s own career as a landscape, genre, and portrait painter. The bond between father and son was further strengthened during their travels, as Albert often accompanied his father and his father's students on painting expeditions throughout Switzerland.
Beyond the immediate family, the memory of the man was preserved through both stone and paper. In 1856, a portrait bust of Meuron was created by Ferdinand Schlöth, capturing his likeness in a more permanent form. While his physical presence faded, his private thoughts and professional dealings remained accessible to those who study the history of the region. The Archives de l'État de Neuchâtel holds an extensive collection of his correspondence, offering a window into the man behind the canvases. Through these letters and the continued work of his descendants, his presence remains woven into the history of Neuchâtel.
