Exhibition Overview
This major retrospective explores the life and work of the exceptionally gifted, deeply tormented sculptor who defined the heady atmosphere of the Second Empire in France (–). The first full-scale exhibition in thirty-nine years devoted to Carpeaux (–), it features about works including sculptures, paintings, and drawings, which are organized around the major projects that the artist undertook during his brief and stormy career. Major international loans that have never before traveled to the United States, or have not been here for decades, come from the Musée d'Orsay; Musée des Beaux-Arts, Valenciennes (Carpeaux's birthplace); the Louvre, Petit Palais, and other French institutions; and the Ny Carlsberg Glyptotek in Copenhagen. Important loans also come from the Getty in Los Angeles and from private collections.
Carpeaux is best known today for a single masterpiece, the Metropolitan Museum's own Ugolino and His Sons, yet he was a multifaceted and prolific artist. A sculptor of emotion, both grand and intimate, he was drawn to extremes from Michelangelo to Watteau while retaining respectful admiration for his peers in French sc
Critics of mid-nineteenth-century sculpture in France called attention to its often slavish mimicry of ancient works and to the pomposity of public monuments. Charles Baudelaire attacked on a more fundamental level in his essay, “Why Sculpture Is Boring,” which decried the limitations of three-dimensional sculptural representation in comparison to painting, arguably a more versatile and evocative medium. A later shift in taste toward a freer and more naturalistic style is exemplified by the work of Second Empire sculptor Jean-Baptiste Carpeaux. Breaking with traditional approaches to historical subjects and portraiture, Carpeaux infused his sculpture with a previously unseen freedom and immediacy.
Like many nineteenth-century French sculptors, Carpeaux was from the working class. Son and grandson of stonemasons in Valenciennes, he was apprenticed as a boy to Debaisieux, a plasterer. Since drawing was a necessary tool of his trade, Carpeaux was enrolled in the Académie de Peinture, Sculpture et Architecture in Valenciennes, and, after his family’s relocation to Paris in , at the École Gratuite de Dessin (or Petite École) until That these two schools were open to instruct youths
Jean-Baptiste Carpeaux brilliant sculptor whose life was ruined by jealousy
Jean&#;BaptisteCarpeaux (May 11, &#; October 12, ) is a famous French artist of the 19th century, an outstanding sculptor of the neo-baroque style. Jean-Baptiste Carpo was also a talented painter, but his paintings are practically unknown to the general public. The best masterpieces of the master&#;s work today adorn the expositions of French museums, squares and facades of Parisian buildings, and his biography is a clear example of the successful career of a genius artist from a simple working-class family.
Jean-Baptiste Carpeau never held high positions at the Academy of Arts and was not even a full member of it. His works often caused heated debate in society, but the master always remained true to his own style, based on the ideals of freedom and the traditions of realism.
Biography of Jean&#;BaptisteCarpeaux
Jean-Baptiste Carpeaux was born on May 11, in the city of Valenciennes in the north of France into the family of a bricklayer. From early childhood, the boy was fond of drawing and, despite his father&#;s negative attitude to this occupation, at the age of 11 he entered the l
Jean-Baptiste Carpeaux
Jean-Baptiste Carpeaux (11 May – 12 October ) was a French sculptor and painter during the Second Empire under Napoleon III.
Born in Valenciennes, Nord, son of a mason, his early studies were under Fran&#;ois Rude. Carpeaux entered the &#;cole des Beaux-Arts in and won the Prix de Rome in , and moving to Rome to find inspiration, he there studied the works of Michelangelo, Donatello and Verrocchio. Staying in Rome from to , he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. Carpeaux sought real life subjects in the streets and broke with the classical tradition.
Carpeaux debuted at the Salon in exhibiting La Soumission d'Abd-el-Kader al'Empereur, a bas-relief in plaster that did not attract much attention. Carpeaux was an admirer of Napol&#;on III and followed him from city to city during Napol&#;on's official trip through the north of France. After initially not making any contact with the emperor, he finally succeeded in arranging a face-to-face encounter at Amiens where he managed to convince Napol&#;on to commission a marble statue that was to be carried out by a practitioner, Ch
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