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 [...] Click here to continue reading.]]> F. Barbedienne, Fondeur

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 1840′s 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, Ferdinand’s partner Achille Collas died (1859) leaving him as sole owner of the foundry and responsible for its 300 workers.

The foundry’s work and reputation surged forward in 1876 when Ferdinand was able to purchase 125 casting models from the estate of the late Antoine Louis Barye. Barbedienne immediately began casting and selling editions of these sculptures, eventually devoting an entire catalogue to them.

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

Reference note by p4A.com editorial staff, 05.09.

Barye sculpted the first example of this work circa 1840 and made three further models, including Numbers 2 (cast circa 1857 to 1875) and 3 (cast circa 1870 and after) These editions varied by which leg was raised off [...] Click here to continue reading.]]> Cheval Turc

Cheval Turc No. 2 (anterieur gauche leve, terrasse carree) is a bronze sculpture of a dramatically posed horse by the French sculptor Antoine-Louis Barye. Its title translates as Turkish Horse (left leg raised).

Barye sculpted the first example of this work circa 1840 and made three further models, including Numbers 2 (cast circa 1857 to 1875) and 3 (cast circa 1870 and after) These editions varied by which leg was raised off the ground, whether the horse’s bowing head joins its chin with its neck, and the configuration of the base, among other points.

Cheval Turc is considered by many authorities to be the single most important and finest animal sculpture of the nineteenth century. It was seen as epitomizing the Romantic Movement, then so wildly popular. In 1844 Barye began marketing his work in smaller sizes directly to the public through the catalogue of the foundry Maison Besse & Cie. The author of that first catalogue with Barye’s work enthusiastically praised the Cheval Turc: ‘This horse fully at liberty, freely inhaling the air through its nostrils; proudly raising its head as though neither death nor enslavement could ever be its fate; this horse soothes our eye and spirit, chasing off any disheartening thought; the only feeling that one can experience upon seeing it is a deep admiration both for one of nature’s most beautiful and most noble creatures and for the talent of its delineator’.

In the 1830′s and early 40′s Barye cast most his work himself in his own studio, a rarity among 19th century sculptors. When he turned to marketing more small scale works to the public in larger editions he used the Besse foundry and other Parisian craftsmen. Barye died in 1875 and the next year the famed foundry of Ferdinand Barbedienne purchased 125 casts from his estate and began a long and extremely successful production run of Barye’s work, eventually giving the artist’s work their own catalogue.

Reference note by p4A editorial staff, 06.09.

Reference note by p4A editorial staff, 06.09.