Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size

Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size

Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size
Antique French Bronze Sculpture Joan of Arc by Henri Chapu 22.5 in. 5 inches t a l l a n d t h e b a s e i s 1 6 x 1 6. I t i s s i g n e d H.

C h a p u. Its a l s o s t a m p e d F. B a r b e d i e n n e F o n d e u r Paris w i t h reduction m e c h a n i q u e s e a l and the number 457. Thanks f o r l o o k i n g! Provenance: ACQUIRED FROM THE R.

Donnelly ESTATE in LAKE Forest, IL. "Jeanne d'Arc a Doremy" (Joan of Arc at Doremy), exhibited 1870, c. 1875-90 Foundry stamp of F. Barbedienne Fondeurs Paris w/ A.

Collas reduction seal and Number 457. Henri-Michel-Antoine Chapu, born in 1833, left his native village of Le Mée as an adolescent, when his parents moved to Paris as the concierges for the marquis de Vogüé. In 1848 he enrolled in the Petite Ecole to learn the tapestry profession. He changed professional course within the year and successfully competed for admission to the Ecole des Beaux-Arts in 1849.

In 1855 he won the Prix de Rome in sculpture and moved to the Villa Medici late that year. In contrast with the tumultuous career of his fellow pensionnaire, Jean-Baptiste Carpeaux, who became a lifelong friend, Chapu's career proceeded steadily towards success. The marble of his final Villa Medici envoi. (Musée d'Orsay, Paris), won a third-class prize in the Salon of 1863. Commissions for private and State projects began immediately upon his return to Paris in 1861.

It was not until after 1870, however, that Chapu was in demand as a sculptor. His reputation skyrocketed with his greatest Salon successes.

Joan of Arc at Domrémy. First shown in 1870 (plaster; Musée Henri Chapu, Le Mée), and. Won the gold medal for sculpture in the Salon of 1875 as well as subsequent accolades after the monument was inaugurated in 1876 at the Ecole des Beaux-Arts. Major commissions for the decoration of civil, commercial, and church architecture and fountains emerged soon after.

Chapu's most acclaimed work in France and abroad, however, was his monumental funerary sculpture. The most famous are his initial projects with single-figure personifications for monumental stela. And the gisants of high-ranking clergy and former royalty (notably that of the duchesse de Nemours, originally at Weybridge, Surrey [now Walker Art Gallery, Liverpool], and the duchesse d'Orléans at the Royal Chapel, Dreux). A nude male youth representing Jean Reynaud's belief in metempsychosis (astral migration of the soul after death), was placed on Chapu's tomb in the cemetery of Le Mée.

A member of the Académie des Beaux-Arts since 1880, he was elected its President in 1889. He had been a chevalier of the Légion d'Honneur since 1867, and was promoted to officer in 1872. Chapu's voluminous production was made possible by a large studio, with extensive personnel for the demanding technical work of his medium. Some were students who were more like medieval apprentices than observers. Contrary to the Ecole system, Chapu firmly believed in the artist's responsibility to master and practice sculpture as a craft; he practiced that credo himself.

A superb craftsman, he remained directly involved in almost every phase of work. Little is known about the extensive serial edition of Chapu's oeuvre. Commercial enterprises--notably Thiébaut and Barbedienne--produced bronzes and marbles of individual figures, as reduced variants, well into the twentieth century. Some may date from the last years of the artist's life.

Chapu's artistic idiom was the iconic human figure; narrative was rare. In the realm of monumental art, his art negotiated an effective course between tradition and modernity for his generation. 1889, Musée National du Grand Palais, Paris, his subjects beyond portraiture were elevated or sober, handled with a refinement that drew largely upon classical and Renaissance sources. It was an approach that avoided extremes: no violent gesture or expression; fastidious detail was absorbed within broad planes and clear outlines.

[This is the artist's biography published in the NGA Systematic Catalogue]. The Paris foundry of Barbedienne is generally considered to be the premier nineteenth century foundry for bronze sculpture. It was founded in 1838 by Ferdinand Barbedienne and Achille Collas, who had invented a mechanism to mechanically reduce statues. At first the Barbedienne foundry made bronze reductions of Greek and Roman antique sculptures.

In 1843 they added the first living artist, Francois Rude, to their clientele. Throughout its history the Barbedienne organization aggressively pursued the work of living artists, with some success, but they also experienced their share of business turmoil first in the financial collapse and revolution of the late 1840s and again with the Franco-Prussian war in 1870, during which time they abandoned their artistic products to cast cannon for the French Army. In between, Ferdinands partner Achille Collas died (1859) leaving him as sole owner of the foundry and responsible for its 300 workers.

Barbedienne died in 1891 much mourned by the French artistic community. The foundrys work continued under the leadership of his nephew Gustave Leblanc, who maintained the same high quality standards that had made the foundrys name.

The foundry continued to cast the works of leading artists of the day, including Auguste Rodin and Emmanuel Fremiet. The LeBlanc family continued to operate the foundry until 1952. The item "Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size" is in sale since Saturday, June 22, 2019. This item is in the category "Art\Art Sculptures". The seller is "dorseyantiques2012" and is located in Racine, Wisconsin. This item can be shipped to United States, Reunion.


Antique Bronze Sculpture Joan of Arc by Henri Chapu (22.5 in. Tall) Rare Size


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