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Jean-Baptiste Carpeaux

France (Valenciennes 1827 -  Courbevoie 1875 ) Wikipedia® : Jean-Baptiste Carpeaux
CARPEAUX Jean-Baptiste Crouching Flora

Duke & Son
Apr 26, 2019
Find artworks, auction results, sale prices and pictures of Jean-Baptiste Carpeaux at auctions worldwide.
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Variants on Artist's name :

Carpeaux Jean Baptiste

 

Artworks in Arcadja
809

Some works of Jean-Baptiste Carpeaux

Extracted between 809 works in the catalog of Arcadja
Jean-Baptiste Carpeaux - Crouching Flora

Jean-Baptiste Carpeaux - Crouching Flora

Original 1873
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Lot number: 456
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Description:
JEAN BAPTISTE CARPEAUX (1827-1875) 'Crouching Flora' A terracotta figure, circa 1873, signed and stamped to the base, 47cm high x 25.4cm wide x 21.7cm deep Provenance: Believed to be purchased from the Estate of Hilda Mary Lacon, well documented survivor of the SS Titanic rescued in lifeboat 13 and a family friend of the Duchess of Kent, late Queen Victoria and in particu-lar Princess Louise late Duchess of Argyll
Jean-Baptiste Carpeaux - Ugolin

Jean-Baptiste Carpeaux - Ugolin

Original
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Lot number: 18
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Jean-Baptiste CARPEAUX Valenciennes, 1827 - Courbevoie, 1875 Ugolin Bronze à patine brun nuancé Chef-modèle de l'atelier Hauteur : 48 cm (18 ¾ in.) Ugolino, bronze modèle, brown patina, by J. B. Carpeaux Provenance : Vente de l'atelier de l'artiste, Paris, Hôtel Drouot, 31 mai, 1er-2 juin 1894, n° 543 ; Vente anonyme ; Paris, Mes Ader et Picard, palais Galliera, 16 juin 1969, n° 54 ; Acquis lors de cette vente par Fernand Lafarge Expositions : 'Sur les traces de Jean-Baptiste Carpeaux', Paris, galeries nationales du Grand Palais, 11 mars - 5 mai 1975, n° 82 'Michel-Ange au siècle de Carpeaux', Valenciennes, musée des Beaux-Arts, 2012, p. 133, et 207, n° 86 Bibliographie : Michel Poletti et Alain Richarme, 'Jean-Baptiste Carpeaux sculpteur, catalogue raisonné de l'œuvre édité', Paris, 2003, p. 72, mentionné dans la notice du n° SA 21 Commentaire : Ugolin est le dernier envoi que Carpeaux fit de la villa Médicis à Rome où il était pensionnaire. Pour ce faire, il décide de se confronter à l'œuvre de Michel-Ange qu'il découvre alors, et annonce un chef-d'œuvre. Il tire alors de L'Enfer de Dante un sujet propice aux expressions de terribilita : Ugolin, ancien podestat de Pise est condamné à mourir de faim, emmuré dans une tour avec ses deux fils et ses deux petits-fils pour avoir trahi le parti des gibelins en faveur de celui des guelfes. " Je vis mon propre aspect peint sur quatre visages Et tordant mes deux poings, me pris à les ronger. Eux croyant que c'était par besoin de manger Se levèrent soudain: - Père, de grâce ! Nous en souffrirons moins si tu manges de nous. " Ce terrible exemple de dévouement filial ne fut pas du goût de l'Institut qui, informé par le directeur de la Villa Médicis, demanda à Carpeaux de modifier son projet. De rage Carpeaux détruisit sa statue... avant de la recoller pour n'y plus renoncer. A la fin de trois ans de travail Carpeaux achève son œuvre qu'il considère comme la plus aboutie. Pour "exprimer les passions les plus violentes et y attacher la tendresse la plus délicate" Carpeaux mêla à la force de Michel-Ange les modèles séculaires du Laocoon antique et de la Melencolia de Dürer. En 1861, après son achèvement, Ugolin transforma l'atelier romain de Carpeaux en un salon mondain où vinrent frissonner de terreur M. de Nieuwerkerke, Alexandre Dumas fils, la princesse Rospigliosi, la duchesse de Castiglione... qui promirent tous à l'élève la carrière d'un maître. " Papa possédait une belle épreuve en bronze de l'Ugolin. J'aimais ce magnifique groupe que j'avais connu durant toute ma jeunesse. Lorsque je vis dans le catalogue de la vente de 1969 la mise en vente du modèle original de ce bronze ; je décidais de l'acquérir. (…) C'est en rentrant d'Auvergne que nous nous sommes arrêtés à Paris. Je stationnais devant Galliera, G. dormait dans la voiture et j'achetais le bronze ; je ne l'ai jamais regretté. " (Fernand Lafarge). Ugolino is the final sculpture sent by Carpeaux from the Villa Medici in Rome to Paris while he was a resident there. To create it, he decided to confront the work of Michelangelo which he was discovering at the time and it foretells a masterpiece. He then took from Dante's Inferno a subject that was conducive to expressions of terribilità: Ugolino, the former Podestà of Pisa was condemned to die of hunger, walled into a tower with his two sons and his two grandsons for betraying the Ghibellines in favour of the Guelphs. "I saw Upon four faces my own very aspect, Both of my hands in agony I bit; And, thinking that I did it from desire Of eating, on a sudden they uprose, And said they: 'Father, much less pain 'twill give us If thou do eat of us;" This terrible example of filial devotion was not to the taste of the Institut which, informed by the Director of the Villa Medici, asked Carpeaux to change his project. In a rage, Carpeaux destroyed his sculpture…before sticking the pieces back together and from then on he never gave up on it. After years of effort, Carpeaux finished his work which he considered to be the most complete of his career. To "express the most violent passions and associate the most delicate tenderness with it", Carpeaux combined the force of Michelangelo with the secular models of the ancient Laocoon and Dürer's Melencolia. In 1861, after it was finished, Ugolino transformed Carpeaux's studio in Rome into a fashionable salon to which M. de Nieuwerkerke, the younger Alexandre Dumas, the princess Rospigliosi, the Duchess de Castiglione all came to shiver with terror…and they all promised the student the career of a master. "Daddy owned a lovely cast in bronze of Ugolino. I loved this magnificent group that I knew during my youth. When I saw the original of this bronze in the auction catalogue of 1969; I decided to acquire it (…) it was while we were returning from Auvergne that we stopped in Paris. I parked in front of Galliera, G. was sleeping in the car and I bought the bronze; I have never regretted it." (Fernand Lafarge).
Jean-Baptiste Carpeaux - Le Chinois No.2

Jean-Baptiste Carpeaux - Le Chinois No.2

Original
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Lot number: 37
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Jean-Baptiste Carpeaux, (French 1827 - 1875), Le Chinois No.2, a patinated bronze bust of a Chinese man, 20th century, his head turned to dexter, his plaited hair falling down his back, the reverse inscribed J.B. Carpeaux, Paris in the maquette; atop a rectangular section white marble socle, 85cm high, 61cm wide
Jean-Baptiste Carpeaux - Puys (la Pêcheuse De Vignots)

Jean-Baptiste Carpeaux - Puys (la Pêcheuse De Vignots)

Original
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Lot number: 926
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926 Jean-Baptiste Carpeaux (French, 1827–1875) [Puys (la Pêcheuse de vignots)], 1874, signed on base "JB Carpeaux", inscribed, stamped "Propriété Carpeaux", patinated bronze, 28-1/2 in. Provenance:Robert Lee Humber; Lucie Bertier Humber, Paris, France/Greenville, North Carolina; by descent in family Condition: dark brown patina with some wear, paint accretion
Jean-Baptiste Carpeaux -  Le Prince Impérial Et Son Chien Néro (the Imperial Prince And His Dog, Nero)

Jean-Baptiste Carpeaux - Le Prince Impérial Et Son Chien Néro (the Imperial Prince And His Dog, Nero)

Original 1865
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Lot number: 30
Other WORKS AT AUCTION
Description:
Jean-Baptiste Carpeaux FRENCH LE PRINCE IMPÉRIAL ET SON CHIEN NÉRO (THE IMPERIAL PRINCE AND HIS DOG, NERO) 1827 - 1875 signed and dated: JB CARPEAUX / TUILERIES 1865, entitled: S.A.LE PRINCE IMPÉRIAL., and stamped with the eagle cypher: PROPRIÉTÉ CARPEAUX, the dog's collar inscribed: AUX TUILERIES terracotta 45 cm., 17 3/4 in.
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