Mädchen in einem Stroh Motorhaube. Artist: Albert-Ernest Carrier-Belleuse (Französisch, Anizy-le-Château 1824-1887 Sèvres). Kultur: Französisch, Paris. Abmessungen: Insgesamt ohne Sockel (bestätigt): H.32 1/2x W. 22 1/8 x 15 1/2 in. (82,6 x 56,2 x 39,4 cm); Höhe auf Basis: 36 1/8 in. (91,8 cm). Datum: Ca. 1868-70. Der reiche Albert-Ernest Carrier-Belleuse fand großen Erfolg in Frankreich und in England, wo er von 1850 bis 1855 lebte. Er vermarktet seine Arbeit scharfsinnig, organisieren spezielle Auktionen, Herstellung von Editionen in Bronze und Terrakotta, Gestaltung dekorative Skulpturen, die weit verbreitet in Zusammenarbeit
Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel
Girl in a Straw Bonnet. Artist: Albert-Ernest Carrier-Belleuse (French, Anizy-le-Château 1824-1887 Sèvres). Culture: French, Paris. Dimensions: Overall without base (confirmed): H. 32 1/2 x W. 22 1/8 x D. 15 1/2 in. (82.6 x 56.2 x 39.4 cm); Height on base: 36 1/8 in. (91.8 cm). Date: ca. 1868-70. The prolific Albert-Ernest Carrier-Belleuse found great success in France and in England, where he lived from 1850 to 1855. He marketed his work astutely, organizing special auctions, producing editions in bronze and terracotta, and designing decorative sculptural pieces that circulated widely in copies. Reacting against the static imagery that clung to portraiture, which was still under the sway of late Neoclassicism, he breathed new life into the genre in the 1850s by following the example of such realistic sculptors as Pierre-Jean David d'Angers. As June Ellen Hargrove has observed, his portraits of women are few, and for them he often worked in a neo-Rococo mode, participating in the eighteenth-century revival that began and flourished in the mid-nineteenth century.[1] One critic described his busts as made "with a skill and spirit seldom seen in sculpture since the end of the eighteenth century." [2] The Goncourt brothers, devotees of the art of the eighteenth century, found this return to the artistic values of an earlier century mawkish; they described him as a "shoddy merchandiser of the nineteenth century, this copier of Clodion." [3] Still others deplored what they saw in his work as excessive realism. In its appealing freshness, Girl in a Straw Bonnet exemplifies the best in Carrier-Belleuse's art. With her right arm, the subject clutches her robes up to her breast while the lace ties of her bonnet, dripping with field flowers, flutter across her chest. The straw hat itself is a tour de force, suggesting the pliable nature of its material beneath a pile of even more petals. The broad brim frames her face; her expression is a knowing smile beneath a fringe of a
