Alexandre Cabanel (French, 1823-1889) master paintings reproduction

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Ref No. Cabanel 1
The Birth of Venus
1863 Oil on canvas
51.18 x 88.58 inches
Museum Dorsay, Paris

Ref No. Cabanel 2
Cleopatra Testing Poisons
on Condemned Prisoners
1887 Oil on canvas

Ref No. Cabanel 3
Ophelia
1883 Oil on canvas
30.31 x 46.26 inches

Ref No. Cabanel 4
Phedre
1880 Oil on canvas
Museum Fabre, Montpellier
Languedoc, France

Ref No. Cabanel 5
La Comtesse de Keller
1873 Oil on canvas
38.98 x 29.92 inches
Museum dorsay, Paris, France

Ref No. Cabanel 6
The Death of Francesca da
Rimini and Paolo Malatesta
1870 Oil on canvas
Museum dorsay, Paris

Ref No. Cabanel 7
Paige
Oil on canvas
Collection of Fred and
Sherry Ross, USA

Ref No. Cabanel 8
Fallen Angel
Oil on canvas

Ref No. Cabanel 9
The Expulsion of Adam
and Eve from the
Garden of Paradise
Oil on canvas
47.99 x 37.01 inches

Ref No. Cabanel 10
The Daughter Of Jephthah
1879 Oil on canvas
39.49 x 25.51 inches

Ref No. Cabanel 11
Portrait Of Young Lady
Oil on canvas
50.00 x 30.71 inches
Formerly in the Collection
Fred and Sherry Ross, USA

Ref No. Cabanel 12
Autoportrait
A Self-Portrait.
1847 Oil on canvas
24.02 x 19.25 inches

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 d¨¦partement 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 Fran?ois-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 L¨¦on B¨¦nouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and B¨¦nouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel's 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. Albayd¨¦, 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.