Albert-Ernest Carrier-Belleuse (1824 - 1887)The SourceSculpture in white marble.
Signed "Carrier-Belleuse" on the lower left terrace. Restorations to the neck and right arm. H: 172 cm Provenance:
tradition, by descent since 1887.Related
- Albert-Ernest Carrier-Belleuse, Application of the human figure to industrial decoration and ornamentation, Goupil et Cie, 1884
.- June Ellen Hargrove, The life and Work of Carrier-Belleuse, Garland Pub.., 1977, p. 289 and particularly plates
194, 294, 295
- Under the direction of June Ellen Hargrove and Gilles Gradjean, Carrier-Belleuse Le Maître de Rodin, catalogue of the exhibition held in Compiègne, Palais, 22 May - 27
This monumental marble work depicting an allegory of the Source in the guise of a young woman draped in an antique style holding an overturned jug of water on her hip was executed by Carrier-Belleuse, a fertile artist and director of a vast workshop with a profuse and prized production in the second half of the 19th century.
A great draftsman, Carrier-Belleuse published drawing books as early as 1866, then again in 1884, the second of which was entitled Application de la figure humaine à la décoration et à l'ornementation industrielles dans l'esprit des collections de modèles de la Renaissance. The great particularity of her art is to promote the human figure as the main decorative subject. If we know of him more generally for his terracotta busts and his small edition bronzes, Carrier-Belleuse also uses human figures in all materials and in all dimensions in figurative art, particularly from the time he was appointed director of works of art at the Sèvres manufactory in 1875. Our marble work, of monumental size, bears witness to his experience in large scale sculpture, linked to architectural commissions or town-planning decorations. He took part in the major official building sites of the Second Empire (such as the Tuileries, the Louvre and the Opera) for which he created allegorical groups, such as the Nymph of the Waters or the Four Seasons of the Vichy Casino built in 1865, two large bronze torches for the Païva mansion in 1867 and twenty-four stone caryatids for the glass court of the Commercial Court in 1868. In the grand staircase of the Opera House, he distinguished himself by the realization of his Torchères with tambourine and crown, groups that he made in electroplating for Christofle in 1873. Carrier-Belleuse was also one of the main sculptors of the Durenne and Val d'Osne art foundries for which he supplied numerous models for the serial production of fountains or candelabra. Among his allegorical subjects, those relating to the element Water and the theme of the Spring are recurrent, as shown by the Marine Nymph he executed in 1874 for the fountain in the Place du Théâtre Français (Comédie Française), a 65 cm terracotta statuette entitled La Source and a 50 cm terracotta bust entitled L'Eau, both of which were presented at the 1883 and 1887 sales. He is also known for drawings and sketches in plaster and wax made for a fountain pavilion project in the 1880s that were directly inspired by the great classical architectural works of the 18th century.
Automatically translated by DeepL. To see the original version, click