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Carrier-Belleuse was born on 12 June 1824 at Anizy-le-Château, Aisne, France. He began his training as a goldsmith's apprentice. Carrier-Belleuse was a student of David d'Angers and briefly studied at the École des Beaux-Arts. His career is distinguished by his versatility and his work outside France: in England betw... |
Career |
Carrier-Belleuse made many terra cotta pieces, the most famous of which may be The Abduction of Hippodameia depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day. He was made artistic director at the Manufacture nationale de Sèvres in 1876. |
Société Nationale des Beaux-Arts |
In 1862 Carrier-Belleuse was one of the founding members of the Société Nationale des Beaux-Arts, and was made an officer of the Légion d'honneur. The bronzes he executed prior to 1868 were always signed "Carrier" or "A. Carrier", but after 1868 his signature was changed to "Carrier-Belleuse". |
Artistic style |
His work encompassed all manner of sculptural subjects and materials, and his naturalism incorporated a breadth of styles: unembellished Realism, neo-Baroque exuberance, and Rococo elegance. |
Family |
His sons were the painters Louis-Robert Carrier-Belleuse (1848-1913) and Pierre Carrier-Belleuse (1851-1932). |
Death and legacy |
Carrier-Belleuse died on 4 June 1887 at Sèvres, France. |
Works of art |
Pediment sculpture of Abundance, Pavillon de Flore, South façade of the Great Galerie, Louvre palace, Paris, circa 1863 |
Caryatids themed on the four seasons, Vichy Opera, for architect Charles Badger, 1865 |
Architectural sculpture for the Tribunal de commerce de Paris (Commercial Court of Paris), on the Île de la Cité, for architect Antoine-Nicolas Bailly, completed 1865 |
A silvered bronze chimney-piece for the Hôtel de la Païva, Paris, 1866 |
Monument to André Masséna, Nice, 1869 |
Architectural work at the Brussels Stock Exchange, Brussels, circa 1870 |
Mary Queen of Scots, Private Collection, ca. 1870 |
Two elaborate multifigure torchères for the base of grand staircase, Palais Garnier (Paris Opera), Pairs, 1873 |
Tomb of Belgian photographer Louis Ghémar, Laeken Cemetery, Brussels, 1873 |
Architectural work for the Théâtre de la Renaissance, Paris, for architect Charles de Lalande, 1873 |
Sea Nymph for the fountain at the Place du Theâtre-Français, Paris, for architect Gabriel Davioud, 1874 |
Bust of Aimée-Olympe Desclée for her tomb, 1874 |
Four Seasons fountain, Hotel de Ville, Fleurance |
Mausoleum of José de San Martín, Buenos Aires Metropolitan Cathedral, Buenos Aires |
Equestrian statue of Mihai Viteazul, University Square, Bucharest, Romania |
Equestrian statue of Manuel Belgrano, Plaza de Mayo Square, Buenos Aires, Argentina |
Equestrian statue of Bernardo O'Higgins, Alameda, Santiago de Chile, Chile |
Statue for the victims of the La Compañía fire, originally at the place of the fire, today in front of the General Cemetery in Santiago de Chile, Chile |
Gallery |
References |
External links |
The R.W. Norton Art Gallery: Albert-Ernest Carrier-Belleuse's Biography |
Albert-Ernest Carrier-Belleuse in American public collections, on the French Sculpture Census website |
Albrecht Dürer (; German: [ˈʔalbʁɛçt ˈdyːʁɐ]; 21 May 1471 – 6 April 1528), sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prin... |
Dürer's vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts series are stylistically more Gothic than the rest of his work, but revolutionised the potential of that medium, while his extraordinary handling of... |
Dürer's introduction of classical motifs and of the nude into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematic... |
Biography |
Early life (1471–1490) |
Dürer was born on 21 May 1471, the third child and second son of Albrecht Dürer the Elder and Barbara Holper, who married in 1467. Albrecht Dürer the Elder (originally Albrecht Ajtósi) was a successful goldsmith who by 1455 had moved to Nuremberg from Ajtós, near Gyula in Hungary. He married Barbara, his master's daugh... |
Because Dürer left autobiographical writings and was widely known by his mid-twenties, his life is well documented in several sources. After a few years of school, Dürer learned the basics of goldsmithing and drawing from his father. Though his father wanted him to continue his training as a goldsmith, he showed such a... |
Dürer's godfather Anton Koberger left goldsmithing to become a printer and publisher in the year of Dürer's birth. He became the most successful publisher in Germany, eventually owning twenty-four printing-presses and a number of offices in Germany and abroad. Koberger's most famous publication was the Nuremberg Chroni... |
Wanderjahre and marriage (1490–1494) |
After completing his apprenticeship, Dürer followed the common German custom of taking Wanderjahre—in effect gap years—in which the apprentice learned skills from other masters, their local tradition and individual styles; Dürer was to spend about four years away. He left in 1490, possibly to work under Martin Schongau... |
Very soon after his return to Nuremberg, on 7 July 1494, at the age of 23, Dürer was married to Agnes Frey following an arrangement made during his absence. Agnes was the daughter of a prominent brass worker (and amateur harpist) in the city. However, no children resulted from the marriage, and with Albrecht the Dürer ... |
First journey to Italy (1494–1495) |
Within three months of his marriage, Dürer left for Italy, alone, perhaps stimulated by an outbreak of plague in Nuremberg. He made watercolour sketches as he traveled over the Alps. Some have survived and others may be deduced from accurate landscapes of real places in his later work, for example his engraving Nemesis... |
In Italy, he went to Venice to study its more advanced artistic world. Through Wolgemut's tutelage, Dürer had learned how to make prints in drypoint and design woodcuts in the German style, based on the works of Schongauer and the Housebook Master. He also would have had access to some Italian works in Germany, but the... |
Return to Nuremberg (1495–1505) |
On his return to Nuremberg in 1495, Dürer opened his own workshop (being married was a requirement for this). Over the next five years, his style increasingly integrated Italian influences into underlying Northern forms. Arguably his best works in the first years of the workshop were his woodcut prints, mostly religiou... |
It is now thought unlikely that Dürer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of w... |
His series of sixteen designs for the Apocalypse is dated 1498, as is his engraving of St. Michael Fighting the Dragon. He made the first seven scenes of the Great Passion in the same year, and a little later, a series of eleven on the Holy Family and saints. The Seven Sorrows Polyptych, commissioned by Frederick III o... |
During the same period Dürer perfected the difficult art of using the burin to make engravings. Most likely he had learned this skill during his early training with his father, as it was also an essential skill of the goldsmith. In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio V... |
The Venetian artist Jacopo de' Barbari, whom Dürer had met in Venice, visited Nuremberg in 1500, and Dürer said that he learned much about the new developments in perspective, anatomy, and proportion from him. To Dürer it seemed that De' Barbari was unwilling to explain everything he knew, so he began his own studies, ... |
Dürer created large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hände (Praying Hands) from circa 1508, a study for an apostle in the Heller altarpiece. He continued to make images in watercolour and bodycolour (usually combined), including a ... |
Second journey to Italy (1505–1507) |
In Italy, he returned to painting, at first producing a series of works executed in tempera on linen. These include portraits and altarpieces, notably, the Paumgartner altarpiece and the Adoration of the Magi. In early 1506, he returned to Venice and stayed there until the spring of 1507. By this time Dürer's engraving... |
Nuremberg and the masterworks (1507–1520) |
Despite the regard in which he was held by the Venetians, Dürer returned to Nuremberg by mid-1507, remaining in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with many of the major artists including Raphael. |
Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: Adam and Eve (1507), Martyrdom of the Ten Thousand (1508, for Frederick of Saxony), Virgin with the Iris (1508), the altarpiece Assumption of the Virgin (1509, for Jacob Heller of Frankfurt), and Adoration of the Trinity (1511, for Matthaeus L... |
Other works from this period include the thirty-seven Little Passion woodcuts, first published in 1511, and a set of fifteen small engravings on the same theme in 1512. Complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. ... |
In 1515, he created his woodcut of a Rhinoceros which had arrived in Lisbon from a written description and sketch by another artist, without ever seeing the animal himself. An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science ... |
Patronage of Maximilian I |
From 1512, Maximilian I became Dürer's major patron. He commissioned The Triumphal Arch, a vast work printed from 192 separate blocks, the symbolism of which is partly informed by Pirckheimer's translation of Horapollo's Hieroglyphica. The design program and explanations were devised by Johannes Stabius, the architectu... |
Dürer worked with pen on the marginal images for an edition of the Emperor's printed prayer book; these were quite unknown until facsimiles were published in 1808 as part of the first book published in lithography. Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists in... |
Maximilian was a very cash-strapped prince who sometimes failed to pay, yet turned out to be Dürer's most important patron. In his court, artists and learned men were respected, which was not common at that time (later, Dürer commented that in Germany, as a non-noble, he was treated as a parasite). Pirckheimer (who he ... |
Dürer manifested a strong pride in his ability, as a prince of his profession. One day, the emperor, trying to show Dürer an idea, tried to sketch with the charcoal himself, but always broke it. Dürer took the charcoal from Maximilian's hand, finished the drawing and told him: "This is my scepter." |
In another occasion, Maximilian noticed that the ladder Dürer used was too short and unstable, thus told a noble to hold it for him. The noble refused, saying that it was beneath him to serve a non-noble. Maximilian then came to hold the ladder himself, and told the noble that he could make a noble out of a peasant any... |
This story and a 1849 painting depicting it by August Siegert have become relevant recently. This nineteenth-century painting shows Dürer painting a mural at St. Stephen's Cathedral, Vienna. Apparently, this reflects a seventeenth-century "artists' legend" about the previously mentioned encounter (in which the emperor ... |
Cartographic and astronomical works |
Dürer's exploration of space led to a relationship and cooperation with the court astronomer Johannes Stabius. Stabius also often acted as Dürer's and Maximilian's go-between for their financial problems. |
In 1515 Dürer and Stabius created the first world map projected on a solid geometric sphere. Also in 1515, Stabius, Dürer and the astronomer Konrad Heinfogel produced the first planispheres of both southern and northerns hemispheres, as well as the first printed celestial maps, which prompted the revival of interest in... |
Journey to the Netherlands (1520–1521) |
Maximilian's death came at a time when Dürer was concerned he was losing "my sight and freedom of hand" (perhaps caused by arthritis) and increasingly affected by the writings of Martin Luther. In July 1520 Dürer made his fourth and last major journey, to renew the Imperial pension Maximilian had given him and to secur... |
Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much. This provides rare information of the monetary value placed on prints at this time. Unlike paintings, their sale was very rarely documented. While providing valuable documentary evidence, Dürer'... |
Having secured his pension, Dürer returned home in July 1521, having caught an undetermined illness, which afflicted him for the rest of his life, and greatly reduced his rate of work. |
Final years, Nuremberg (1521–1528) |
On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a sacra conversazione, though neither was completed. This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical ... |
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