Two French

Linda Hinners Curator,

Art Bulletin of Nationalmuseum Stockholm Volume 22 Art Bulletin of Nationalmuseum, Stockholm, © Stockholms Auktionsverk, Stockholm Graphic Design is published with generous support from (Fig. 5, p. 35) BIGG the Friends of the Nationalmuseum. © Royal Library of Belgium, Brussels (Fig. 2, p. 38) Layout Nationalmuseum collaborates with © Teylers Museum, Haarlem (Fig. 3, p. 39) Agneta Bervokk Svenska Dagbladet and Grand Hôtel Stockholm. © Biblioteca Apostolica Vaticana, Shelfmark: We would also like to thank FCB Fältman & Riserva.S.81(int.2) (Fig. 2, p. 42) Translation and Language Editing Malmén. © Galerie Tarantino, (Figs. 3–4, p. 43) Gabriella Berggren, Erika Milburn and © Wikimedia Commons/Public Domain Martin Naylor Cover Illustration (Figs. 3–4, pp. 46–47) Anne Vallayer (1744–1818), Portrait of a Violinist, © National Library of Sweden, Stockholm Publishing 1773. Oil on canvas, 116 x 96 cm. Purchase: (Figs. 5–6, pp. 48–49) Janna Herder (Editor) and Ingrid Lindell The Wiros Fund. Nationalmuseum, NM 7297. © Uppsala Auktionskammare, Uppsala (Publications Manager) (Fig. 1, p. 51) Publisher © Landsarkivet, Gothenburg/Johan Pihlgren Art Bulletin of Nationalmuseum is published Berndt Arell, Director General (Fig. 3, p. 55) annually and contains articles on the history and © Västergötlands museum, Skara (Fig. 4, p. 55) theory of art relating to the collections of the Editor © Svensk Form Design Archive/Centre for Nationalmuseum. Janna Herder Business History (Fig. 2, p. 58) © Svenskt Tenn Archive and Collection, Nationalmuseum Editorial Committee Stockholm (Fig. 4, p. 60) Box 16176 Janna Herder, Linda Hinners, Merit Laine, © Denise Grünstein (Fig. 5, p. 152) SE–103 24 Stockholm, Sweden Lena Munther, Magnus Olausson, Martin Olin, © The National Gallery, London (Figs. 1–3, 6–7, www.nationalmuseum.se Maria Perers and Lidia Westerberg Olofsson 17, pp. 167–169, 172–173, 179) © Nationalmuseum, the authors and the owners © The National Museum of Art, Architecture and of the reproduced works Photographs Design, Oslo/Jarre Anne Hansteen, CC-BY-NC Nationalmuseum Photographic Studio/ (Fig. 8, p. 174) ISSN 2001-9238 Linn Ahlgren, Bodil Beckman, Erik Cornelius, © Nicholas Penny (Figs. 9–10, 12–14, 16, Anna Danielsson, Cecilia Heisser, Per-Åke Persson pp. 175, 177, 179) and Hans Thorwid © Museum Gustavianum, Uppsala (Fig. 11, p. 176) Picture Editor © Getty Museum CC-BY. Digital image courtesy of Rikard Nordström the Gettys Open Content Program (Fig. 15, p. 178) Photo Credits © The Swedish Royal Court/Håkan Lind © Samlungen der Hamburger Kunsthalle, (Fig. 9, p. 188) Hamburg (Fig. 5, p. 15) © Eva-Lena Bergström (Figs. 1, 3–4, 6–7, 9, © Museum Bredius The Hague (Fig. 6, p. 16) pp. 191–192, 194–196, 198) © The National Museum of Art, Architecture and © Statens Museum for Kunst/National Gallery of Design, Oslo/Jacques Lathion (Fig. 2, p. 23) Denmark, Copenhagen, CC-PD (Fig. 2, p. 193) © Kalmar läns museum, Kalmar/Rolf Lind © The Nordic Museum, Stockholm/Karolina (Fig. 3, p. 27) Kristensson (Fig. 5, p. 195)

Art Bulletin of Nationalmuseum Volume 22, 2015 acquisitions/two french sculptures

Two French Sculptures

Linda Hinners Curator, Sculpture

In 2015, the collections of the National- museum were enriched by the addition of two French sculptures, Albert-Ernest Carrier-Belleuse’s Between Two Loves and a Head of a Sleeping Baby by Jules Dalou. Da- ting from the second half of the 19th cen- tury, they show both differences and signs of a connection. Their subjects are closely related, although they differ in expression. The two works can serve to exemplify the change which sculptural art was under- going in the late 19th century, in both genre and expression. It was a period when sculptures of anecdotal and sentimental subjects were often reproduced in bronze or other materials, appealing to a broader, middle-class circle of collectors and at the same time developing a more naturalistic expression. Albert-Ernest Carrier-Belleuse (1824– 1887) began his career as a goldsmith’s apprentice. Instead of a formal, academic education at the École des Beaux-Arts, he received a more practical training as a sculptor at the Petite École. In time, Carrier-Belleuse built up a large, hierar- chically organised studio of sculptors spe-

Fig. 1 Albert-Ernest Carrier-Belleuse (1824–1887), Between Two Loves. Silvered and gilt bronze, 70 cm. Purchase: Hedda and N. D. Qvist Fund. Nationalmuseum, NMSk 2349.

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respected sculptor. Towards the end of his can be dated to between 1874 and 1878, career (in 1875), Carrier-Belleuse became that is, to Dalou’s English period (Fig. 2). the director of the Sèvres manufactory. It served as a preparatory work for several Carrier-Belleuse challenged the Neo- groups, including a monument to the de- classical ideal. The human figure and a fai- ceased children of Queen Victoria (1878).3 thful study of nature – often expressed in a From 1904 onwards, several posthumous sensual female body – were always the star- copies were cast by the Hébrard foundry, of ting point for his art, a characteristic we also which this appears to be one of the earliest.4 find in the work of his pupil The striking realism and the spontaneous (1840–1917). At the same time, there was expression of the child anticipate the more a decorative touch to his sculptures that relaxed idiom of which late 19th-century would be quite alien to the sculptors of the sculptural art would provide examples, not next generation. When it came to reprodu- least in the early works of Auguste Rodin. cing his works, however, Carrier-Belleuse Dalou and Rodin were also close at a perso- was a pioneer. The newly acquired sculptu- nal level – at least to begin with, before the re Between Two Loves (Entre deux amours) rivalry between them grew too strong.5 was made in the third quarter of the 19th century (the marble is dated 1867). The Notes: work presents a moral dilemma. The young 1. June Hargrove and Gilles Grandjean, Carrier- Belleuse: Le maître de Rodin, (exh. cat.), Palais de woman is caught between two kinds of love Compiègne, Paris 2014, pp. 42–44, no. 19. – the sensual, romantic variety and the ten- 2. “Tant qu’ici j’ai traité des sujets very sweet, de derness of maternal affection (Fig. 1).1 douces mères et des enfants bien sages…” Letter Aimé Jules Dalou’s (1838–1902) ar- from Dalou, 1879. From Amélie Simier, Dalou à tistic career had much in common with Paris, Paris 2010, p. 12. 3. Amélie Simier, Jules Dalou: le sculpteur de la that of Carrier-Belleuse. Dalou also began Fig. 2 Aimé Jules Dalou (1838–1902), Head of République, Paris, 2013, pp. 346–347; Anne- a Sleeping Baby, 1892. Bronze, 19.5 x 14.5 cm. his training at the Petite École, but at the Brigitte Fonsmark, Emmanuelle Héran and Sidsel Purchase: Hedda and N. D. Qvist Fund. age of 15 he was admitted to the École des Man’a Sondergaard, Catalogue 2, Nationalmuseum, NMSk 2350. Beaux-Arts. He made a living from orna- Ny Carlsberg Glyptotek, Copenhagen 1999, mental work, like Carrier-Belleuse, and was pp. 108–109. 4. Archives Hébrard, Musée d’Orsay. This infor- involved in the decoration of the many new mation has kindly been communicated by Amélie buildings constructed in Paris in the late Simier. cialising in different fields. The workshop 19th century. Like those of other artists, 5. Antoinette Le Normand-Romain, “Catalogue”, turned out a wide range of ornamental and however, Dalou’s career was threatened by in Rodin, (exh. cat. no. 675), Nationalmuseum, monumental work, together with more or the unrest surrounding the Franco-Prussi- Stockholm 2015, p. 44. less mass-produced sculptures in various an War and the ensuing materials, for which Carrier-Belleuse pro- of 1870–71, which forced many working vided the models. Alongside his practice in the arts to leave the country tempora- in France, he worked in Belgium and for rily. Dalou installed himself in London, several manufactories in England. Carrier- where he found a new clientele among the Belleuse’s sculptures combined elements of English middle classes, who appreciated older styles with new technologies for mass his portraits and charming genre groups production, and, entrepreneur that he was, of “sweet mothers and well-behaved child- he sold works directly from his workshop. ren”.2 Twelve years later, he returned to At the same time, he regularly exhibited Paris. A dedicated republican, he received unique sculptures and portraits at the commissions for a monument in honour of French Salon, attracting great acclaim from the new regime () and, collectors and the public. Thanks to his suc- soon afterwards, another dozen sculptures cesses at the Salon, pieces by him were also for public places in Paris. acquired by the French state – at the time, The model for the newly acquired Head a necessary stepping stone to becoming a of a Sleeping Baby (Buste de bébé endormi)

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