Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 1 werken van Frédérick Juncker in onze catalogus
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Het belangrijkste schilderij van Frédérick Juncker is Landscape (1888), waarvan het origineel in het Petit Palais in Parijs staat. Onze catalogus bevat 1 werken van Frédérick Juncker. De 1 hier vermelde werken zijn de bekendste, in volgorde van rangschikking, inclusief het jaar en het museum van elk origineel.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Frédérick Juncker | Schilderijen uit deze lijst |
|---|---|---|---|
 Petit Palais |
Parijs | 1 | Landscape |
1888: elk gedateerd schilderij van Frédérick Juncker op deze pagina komt uit dat jaar. Hier zijn ze, op volgorde van rangschikking.
Selecteer een jaar om de bijbehorende schilderijen te bekijken.
Landscape (1888) staat op de eerste plaats.
Frédérick Juncker was 66 jaar oud: Landscape dateert uit 1888, en Frédérick Juncker werd geboren in 1822.
1 werken van Frédérick Juncker staan in onze catalogus.
Voornamelijk in Petit Palais (Parijs). Zie de museumtabel hierboven voor de volledige lijst.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie of als een print. Open het schilderij, kies de gewenste afmeting en plaats uw bestelling.
Paris, 1822. A child is born into a world of shifting intellectual currents. While history remembers him by the pseudonym Frédérick Juncker, his life begins under the name Jules-Édouard Juncker. He moves through the nineteenth century not merely as a painter, but as a man of letters, a poet whose verses sought to find meaning in the void. His existence is a bridge between the visual and the spoken word, a duality that defines his presence in the French cultural landscape.
The studio of Léon Cogniet provides the crucible for his early development. Under this mentorship, Juncker refines a technical precision that would eventually lead him to the prestigious Salon. He does not merely paint; he observes. His work is a constant dialogue with the light and shadow of his era, a pursuit of form that mirrors his internal search for spiritual clarity.
His personal life is marked by stability and deep-seated belief. In 1849, he marries Caroline Elisabeth Quenout, a union that anchors him as he navigates the complexities of Parisian society. Beyond the canvas, his intellect finds a home in the defense of faith, serving as the secretary general of the Ligue contre l'Athéisme. This commitment to conviction bleeds into his literary output, where his poetry explores the depths of human existence.
His creative output is characterized by several distinct facets:
The years between 1848 and 1903 see him a constant fixture in the Salon, a period of sustained professional presence. He navigates the changing tides of French art, maintaining a steady hand even as the world around him undergoes radical transformation.
The end comes in Asnières-sur-Seine, 1906. The man who spent decades capturing the world through pigment and verse leaves behind a legacy of both image and ink. His works, such as those found in the collections of the Musée des Beaux-Arts de la ville de Paris, remain as remnants of a life lived at the intersection of art and belief. He is laid to rest in the Montmartre cemetery, a final quietude after a lifetime of expression.
