Albert-Ernest Carrier-Belleuse
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Albert-Ernest Carrier-Belleuse
(b Anizy-le-Ch?teau, Aisne, 12 June 1824; d S?vres, 3 June 1887). French sculptor and designer. He was one of the most prolific and versatile sculptors of the 19th century, producing portrait busts, monuments and ideal works, as well as exploiting to the full the commercial opportunities offered by developing technology for the mass production of small-scale sculpture and decorative wares. His style ranged from the unembellished Realism of his male portraits to the neo-Baroque exuberance of his architectural decoration, and his art is particularly associated with the amiable opulence of the Second Empire. He signed his works A. Carrier until c. 1868, thereafter adopting the name Carrier-Belleuse.
See the Abbreviations for further details.
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Albert-Ernest Carrier-Belleuse
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Albert-Ernest Carrier-Belleuse
Albert-Ernest Carrier-Belleuse (June 12, 1824, Anizy-le-Château, Aisne - June 4, 1887, Sèvres) was a French sculptor and painter.
Life
Carrier-Belleuse was a student of David d'Angers and briefly at the École des Beaux-Arts. His career is distinguished by his versatility and his work outside France: in England between 1850 and 1855[1] (working for Mintons), and in Brussels around 1871. His name is perhaps best known because Auguste Rodin worked as his assistant between 1864 and 1870. The two travelled to Brussels in 1871[2], and by some accounts Rodin assisted Carrier-Belleuse's architectural sculpture for the Brussels Stock Exchange.
Carrier-Belleuse made many terra cotta pieces, the most famous of which may be The Abduction of Hippodameia depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day. He was also made artistic director at the Manufacture nationale de Sèvres in 1876.
As a painter he produced many portraits and landscapes on the Côte d'Opale, northern sea-borders facing England, chiefly in the village of Audresselles. In 1862 Carrier-Belleuse was one of the founding members of the Société Nationale des Beaux-Arts, and was made an Officier of the Légion d'honneur.
He was also the father and teacher of Louis-Robert Carrier-Belleuse.[3]
Work
- pediment sculpture of Abundance, Pavillon de Flore, South façade of the Great Galerie, Louvre palace, Paris, crica 1863
- caryatids themed on the four seasons, Vichy Opera, for architect Charles Badger, 1865[4]
- architectural sculpture for the Tribunal de commerce de Paris (Commercial Court of Paris), on the Île de la Cité, for architect Antoine-Nicolas Bailly, completed 1865
- a silvered bronze chimney-piece for the Hôtel de la Païva, Paris, 1866[5]
- monument to André Masséna, Nice, 1869
- architectural work at the Brussels Stock Exchange, Brussels, circa 1870
- Mary Queen of Scots, Private Collection, ca. 1870
- two elaborate multifigure torchères for the base of grand staircase, Palais Garnier (Paris Opera), Pairs, 1873[6]
- tomb of Belgian photographer Louis Ghémar, Laeken Cemetery, Brussels, 1873[7]
- architectural work for the Théâtre de la Renaissance, Paris, for architect Charles de Lalande, 1873[8]
- Sea Nymph for the fountain at the Place du Theâtre-Français, Paris, for architect Gabriel Davioud, 1874
- Four Seasons fountain, Hotel de Ville, Fleurance
- mausoleum of José de San Martín, Buenos Aires Metropolitan Cathedral, Buenos Aires
- equestrian statue of Mihai Viteazul, University Square, Bucharest, Romania
- equestrian statue of Manuel Belgrano, Plaza de Mayo Square, Buenos Aires, Argentina
External links
- The R.W. Norton Art Gallery: Albert-Ernest Carrier-Belleuse's Biography
References
- ^ http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3355&page=1
- ^ V&A
- ^ The Getty
- ^ www.villesdeaux.com/download/dp-2009-arovemac-bd_pdf.pdf
- ^ The Grove encyclopedia of decorative arts, Volume 1 By Gordon Campbell
- ^ http://www.musee-orsay.fr/en/collections/works-in-focus/sculpture/commentaire_id/candelabra-2214.html?tx_commentaire_pi1
- ^ Encyclopedia of nineteenth-century photography, Volume 1 By John Hannavy
- ^ The Grove encyclopedia of decorative arts, Volume 1 By Gordon Campbell
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