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Jean-Baptiste Carpeaux (1827-1875)The Spirit of Dance – Monumental Bronze Sculpture by Jean-Baptiste Carpeaux20th century
20th century
$70,887.16
£53,134.32
€60,000
CA$97,386.90
A$108,723.32
CHF 56,969.38
MX$1,330,880.11
NOK 723,511.73
SEK 682,179.70
DKK 456,741.89
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About the Item
Three years after surprisingly winning the commission for the Paris Opera House—today known as the Palais Garnier—Charles Garnier entrusted one of the four major sculptural groups for its façade to his former classmate from the Petite-École and Prix de Rome laureate, Jean-Baptiste Carpeaux. After several proposals and many modifications, Carpeaux began work in 1868 on the stone version of La Danse.
His intention was to embody the very essence of dance—movement, joy, and exuberance. This sculpture immediately stood out among the more traditional architectural elements. The Spirit of Dance, the central figure in the composition, quickly became an icon of this monumental work.
Undecided on the gender of the “Genius of Dance,” Carpeaux chose the body of Sébastien Visat, a 20-year-old carpenter, for his healthy and slender physique. The figure’s radiant smile was borrowed from Princess Hélène de Racowitza. This unique combination resulted in a form brimming with life and delicacy—one of the most brilliant syntheses in Carpeaux’s career.
The figure is depicted in a whirling, triumphant pose, arms raised and holding a tambourine, symbol of music and celebration. His joyful expression and wind-swept hair convey a sense of freedom and ecstatic movement, contrasting sharply with the more rigid academic sculpture of the Second Empire.
Upon its public unveiling on July 27, 1869, the sculpture caused an immediate scandal. The press condemned this “wild dance of naked bodies” as indecent and offensive to public morality. One month later, the controversy still raging, a passerby hurled a bottle of ink at the sculpture, leaving a visible stain on the stone.
The rejection deeply affected Carpeaux. When Napoleon III, bowing to public pressure, considered having the sculpture removed, Carpeaux was devastated. Fortunately, the outbreak of war in 1870 prevented the removal, and the sculpture was spared.
This cast bears the prestigious mark of the Syndicat des Fabricants de Bronze, allowing it to be dated between 1909 and 1911. In 1909, Albert Susse was elected president of the Syndicate and worked to establish legislation protecting fine art bronze. He was joined by his son Jacques in 1904 and retired in 1911—bracketing the production date of this edition. This seal attests to both the provenance and exceptional quality of the casting.
Measuring 105.5 cm, this bronze is the largest of the known reproductions of The Spirit of Dance. Its monumental size makes it an exceptional and rare piece, produced in very limited numbers. Most other reductions are significantly smaller, making this version especially sought-after by collectors and museums. The scale allows for full appreciation of the details in the modeling, facial expressiveness, and the virtuosity of the drapery, all echoing the power of the original stone version.
The original work still graces the façade of the Opéra Garnier in Paris, and various bronze and plaster versions are held in prestigious museum collections:
Musée d'Orsay, Paris
Petit Palais, Paris
Musée des Beaux-Arts, Valenciennes
The Louvre, Paris
Metropolitan Museum of Art, New York
Victoria & Albert Museum, London
Today, The Spirit of Dance is regarded as one of the masterpieces of 19th-century sculpture, symbolizing the full expression of movement and vitality. Its influence can be seen in Art Nouveau, Symbolist sculpture, and even anticipates the expressive force of Rodin’s work.
With its unmatched dynamism and sculptural audacity, Carpeaux left a lasting mark on the history of art, inspiring generations of sculptors to capture the very soul of human movement.
- Creator:Jean-Baptiste Carpeaux (1827-1875) (1827 - 1875, French)
- Creation Year:20th century
- Dimensions:Height: 41.54 in (105.5 cm)Width: 29.14 in (74 cm)Depth: 0.4 in (1 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Gent, BE
- Reference Number:1stDibs: LU2140216201952
Jean-Baptiste Carpeaux (11 May 1827 – 12 October 1875) was a French sculptor and painter during the Second Empire under Napoleon III. Life Born in Valenciennes, Nord, son of a mason, his early studies were under François Rude.Carpeaux entered the École des Beaux-Arts in 1844 and won the Prix de Rome in 1854, and moving to Rome to find inspiration, he there studied the works of Michelangelo, Donatello and Verrocchio. Staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. Carpeaux sought real life subjects in the streets and broke with the classical tradition. Carpeaux debuted at the Salon in 1853 exhibiting La Soumission d'Abd-el-Kader al'Empereur, a bas-relief in plaster that did not attract much attention. Carpeaux was an admirer of Napoléon III and followed him from city to city during Napoléon's official trip through the north of France. After initially not making any contact with the emperor, he finally succeeded in arranging a face-to-face encounter at Amiens where he managed to convince Napoléon to commission a marble statue that was to be carried out by a practitioner, Charles Romain Capellaro. Carpeaux soon grew tired of academicism and became a wanderer on the streets of Rome. He spent free time admiring the frescoes of Michelangelo at the Sistine Chapel. Carpeaux said, "When an artist feels pale and cold, he runs to Michelangelo in order to warm himself, as with the rays of the sun". While a student in Rome, Carpeaux submitted a plaster version of Pêcheur napolitain à la coquille, the Neapolitan Fisherboy, to the French Academy. He carved the marble version several years later, showing it in the Salon exhibition of 1863. It was purchased for Napoleon III's empress, Eugénie. The statue of the young smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble and bronze. There is a copy, for instance, in the Samuel H. Kress Collection in the National Gallery of Art in Washington, D.C. Some years later, he carved the Girl with a Shell, a similar study. In 1861, he made a bust of Princess Mathilde, and this later brought him several commissions from Napoleon III. Then in 1866, he established his own atelier in order to reproduce and make work on a grander scale. In 1866, he was made chevalier of the Legion of Honour. He employed his brother as the sales manager and made a calculated effort to produce work that would appeal to a larger audience.[3] On 12 October 1875, he died at George Barbu Știrbei's château in Bécon-les-Bruyères, outside Courbevoie. Among his students were Jules Dalou, Jean-Louis Forain and the American sculptor Olin Levi Warner.
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