LaurieAnnie's photos with the keyword: Carpeaux

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

Title: Ugolino and His Sons Artist: Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie) Date: 1865–67 Culture: French, Paris Medium: Saint-Béat marble Dimensions: Overall (confirmed): 77 3/4 × 59 × 43 1/2 in., 4955 lb. (197.5 × 149.9 × 110.5 cm, 2247.6 kg); Pedestal (wt. confirmed): 3759 lb. (1705.1 kg) Classification: Sculpture Credit Line: Purchase, Josephine Bay Paul and C. Michael Paul Foundation Inc. Gift, Charles Ulrick and Josephine Bay Foundation Inc. Gift, and Fletcher Fund, 1967 Object Number: 67.250 The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism. Text from: www.metmuseum.org/art/collection/search/204812

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

The subject of this intensely Romantic work is derived from canto XXXIII of Dante's Inferno, which describes how the Pisan traitor Count Ugolino della Gherardesca, his sons, and his grandsons were imprisoned in 1288 and died of starvation. Carpeaux's visionary statue, executed in 1865–67, reflects the artist's passionate reverence for Michelangelo, specifically for The Last Judgment (1536–41) in the Sistine Chapel of the Vatican, Rome, as well as his own painstaking concern with anatomical realism.

Title: Why Born Enslaved! Artist: Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie) Date: modeled 1868, carved 1873 Culture: French Medium: Marble Dimensions: 22 7/8 × 16 × 12 1/2 in., 132.7 lb. (58.1 × 40.6 × 31.8 cm, 60.2 kg) Pedestal: 22 × 18 in., 1298 lb. (55.9 × 45.7 cm, 588.8 kg) Classification: Sculpture Credit Line: Purchase, Lila Acheson Wallace, Wrightsman Fellows, and Iris and B. Gerald Cantor Foundation Gifts, 2019 Accession Number: 2019.220 This bust is perhaps the most well-known nineteenth-century sculpture of an enslaved Black figure. A virtuosic display of artistic achievement, the composition was modeled after an unidentified woman whose features Carpeaux recorded in exquisite detail. Yet this bust is not a portrait. Rather, it depicts the Black figure as an enslaved and racialized "type." Created twenty years after the abolition of slavery in the French colonies (1848), the sculpture was debuted in Paris in 1869 under the title Négresse, a term that reinforces the fallacy of human difference based on skin color. The subject’s resisting pose, defiant expression, and accompanying inscription – "Pourquoi Naître Esclave!" (Why Born Enslaved!) – convey an antislavery message. However, the bust also perpetuates a Western tradition of representation that long saw the Black figure as inseparable from the ropes and chains of enslavement. The present bust is one of only two known versions carved in marble. Text from: www.metmuseum.org/art/collection/search/824469

Title: Why Born Enslaved! Artist: Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie) Date: modeled 1868, carved 1873 Culture: French Medium: Marble Dimensions: 22 7/8 × 16 × 12 1/2 in., 132.7 lb. (58.1 × 40.6 × 31.8 cm, 60.2 kg) Pedestal: 22 × 18 in., 1298 lb. (55.9 × 45.7 cm, 588.8 kg) Classification: Sculpture Credit Line: Purchase, Lila Acheson Wallace, Wrightsman Fellows, and Iris and B. Gerald Cantor Foundation Gifts, 2019 Accession Number: 2019.220 This bust is perhaps the most well-known nineteenth-century sculpture of an enslaved Black figure. A virtuosic display of artistic achievement, the composition was modeled after an unidentified woman whose features Carpeaux recorded in exquisite detail. Yet this bust is not a portrait. Rather, it depicts the Black figure as an enslaved and racialized "type." Created twenty years after the abolition of slavery in the French colonies (1848), the sculpture was debuted in Paris in 1869 under the title Négresse, a term that reinforces the fallacy of human difference based on skin color. The subject’s resisting pose, defiant expression, and accompanying inscription – "Pourquoi Naître Esclave!" (Why Born Enslaved!) – convey an antislavery message. However, the bust also perpetuates a Western tradition of representation that long saw the Black figure as inseparable from the ropes and chains of enslavement. The present bust is one of only two known versions carved in marble. Text from: www.metmuseum.org/art/collection/search/824469

Title: Why Born Enslaved! Artist: Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie) Date: modeled 1868, carved 1873 Culture: French Medium: Marble Dimensions: 22 7/8 × 16 × 12 1/2 in., 132.7 lb. (58.1 × 40.6 × 31.8 cm, 60.2 kg) Pedestal: 22 × 18 in., 1298 lb. (55.9 × 45.7 cm, 588.8 kg) Classification: Sculpture Credit Line: Purchase, Lila Acheson Wallace, Wrightsman Fellows, and Iris and B. Gerald Cantor Foundation Gifts, 2019 Accession Number: 2019.220 This bust is perhaps the most well-known nineteenth-century sculpture of an enslaved Black figure. A virtuosic display of artistic achievement, the composition was modeled after an unidentified woman whose features Carpeaux recorded in exquisite detail. Yet this bust is not a portrait. Rather, it depicts the Black figure as an enslaved and racialized "type." Created twenty years after the abolition of slavery in the French colonies (1848), the sculpture was debuted in Paris in 1869 under the title Négresse, a term that reinforces the fallacy of human difference based on skin color. The subject’s resisting pose, defiant expression, and accompanying inscription – "Pourquoi Naître Esclave!" (Why Born Enslaved!) – convey an antislavery message. However, the bust also perpetuates a Western tradition of representation that long saw the Black figure as inseparable from the ropes and chains of enslavement. The present bust is one of only two known versions carved in marble. Text from: www.metmuseum.org/art/collection/search/824469

Title: Why Born Enslaved! Artist: Jean-Baptiste Carpeaux (French, Valenciennes 1827–1875 Courbevoie) Date: modeled 1868, carved 1873 Culture: French Medium: Marble Dimensions: 22 7/8 × 16 × 12 1/2 in., 132.7 lb. (58.1 × 40.6 × 31.8 cm, 60.2 kg) Pedestal: 22 × 18 in., 1298 lb. (55.9 × 45.7 cm, 588.8 kg) Classification: Sculpture Credit Line: Purchase, Lila Acheson Wallace, Wrightsman Fellows, and Iris and B. Gerald Cantor Foundation Gifts, 2019 Accession Number: 2019.220 This bust is perhaps the most well-known nineteenth-century sculpture of an enslaved Black figure. A virtuosic display of artistic achievement, the composition was modeled after an unidentified woman whose features Carpeaux recorded in exquisite detail. Yet this bust is not a portrait. Rather, it depicts the Black figure as an enslaved and racialized "type." Created twenty years after the abolition of slavery in the French colonies (1848), the sculpture was debuted in Paris in 1869 under the title Négresse, a term that reinforces the fallacy of human difference based on skin color. The subject’s resisting pose, defiant expression, and accompanying inscription – "Pourquoi Naître Esclave!" (Why Born Enslaved!) – convey an antislavery message. However, the bust also perpetuates a Western tradition of representation that long saw the Black figure as inseparable from the ropes and chains of enslavement. The present bust is one of only two known versions carved in marble. Text from: www.metmuseum.org/art/collection/search/824469

Neapolitan Fisher Boy (Primary Title) Jean-Baptiste Carpeaux, French, 1827 - 1875 (Artist) Date: 1873 Culture: French Category: Sculpture Medium: bronze Collection: European Art Dimensions: Overall (statue): 35 1/4 × 16 × 19 1/4 in. (89.54 × 40.64 × 48.9 cm) Overall (stand): 41 × 16 × 19 in. (104.14 × 40.64 × 48.26 cm) Object Number: 60.17 Contemporary Italian subjects were extremely popular in 19th-century Europe, as they offered an opportunity for cultural fantasies concerning urbanism and modernity. In the wake of the Industrial Revolution, France and other countries experienced cultural shifts in which their urban populations grew while their rural populations decreased. With these shifts emerged a growing fascination with “primitive” and rustic cultures, untainted by the concerns of modern life. As the French in particular grew to define themselves as an industrial society, they needed to create a cultural foil or contrast to their modernity. Italian subjects such as that seen in Carpeaux’s Neapolitan Fisher Boy were embraced for this reason. Case in bronze, Carpeaux’s youthful male figure is nude, placing him in a state of nature. As he kneels on one knee, he holds a shell up to his left ear, carefully balancing himself as he listens. He seems unaware of his nudity and captivated by the sensory and sensual experience of listening to the shell. Carpeaux studied at the French Academy in Rome in the 1850s and ‘60s, and claimed to have based this figure on a youth he observed in Naples. Because it captures a spontaneous and dynamic moment of human activity, the post of the youth is typical of Carpeaux’s work because it captures a spontaneous and dynamic moment of human activity. Text from: www.vmfa.museum/piction/7898249-174292293

Neapolitan Fisher Boy (Primary Title) Jean-Baptiste Carpeaux, French, 1827 - 1875 (Artist) Date: 1873 Culture: French Category: Sculpture Medium: bronze Collection: European Art Dimensions: Overall (statue): 35 1/4 × 16 × 19 1/4 in. (89.54 × 40.64 × 48.9 cm) Overall (stand): 41 × 16 × 19 in. (104.14 × 40.64 × 48.26 cm) Object Number: 60.17 Contemporary Italian subjects were extremely popular in 19th-century Europe, as they offered an opportunity for cultural fantasies concerning urbanism and modernity. In the wake of the Industrial Revolution, France and other countries experienced cultural shifts in which their urban populations grew while their rural populations decreased. With these shifts emerged a growing fascination with “primitive” and rustic cultures, untainted by the concerns of modern life. As the French in particular grew to define themselves as an industrial society, they needed to create a cultural foil or contrast to their modernity. Italian subjects such as that seen in Carpeaux’s Neapolitan Fisher Boy were embraced for this reason. Case in bronze, Carpeaux’s youthful male figure is nude, placing him in a state of nature. As he kneels on one knee, he holds a shell up to his left ear, carefully balancing himself as he listens. He seems unaware of his nudity and captivated by the sensory and sensual experience of listening to the shell. Carpeaux studied at the French Academy in Rome in the 1850s and ‘60s, and claimed to have based this figure on a youth he observed in Naples. Because it captures a spontaneous and dynamic moment of human activity, the post of the youth is typical of Carpeaux’s work because it captures a spontaneous and dynamic moment of human activity. Text from: www.vmfa.museum/piction/7898249-174292293