View full screen - View 1 of Lot 66. The Abduction of Hippodamia | L'Enlèvement d'Hippodamie.
66

Albert-Ernest Carrier-Belleuse

The Abduction of Hippodamia | L'Enlèvement d'Hippodamie

Albert-Ernest Carrier-Belleuse

Albert-Ernest Carrier-Belleuse

The Abduction of Hippodamia | L'Enlèvement d'Hippodamie

The Abduction of Hippodamia | L'Enlèvement d'Hippodamie

Albert-Ernest Carrier-Belleuse

1824 - 1887

The Abduction of Hippodamia (L'Enlèvement d'Hippodamie)


signed CARRIER.BELLEUSE, with a pastille stamp BRONZE GARANTI AU TITRE PARIS

bronze, brown patina


H. 64 cm; 25 ⅕ in.

__________________________________________________________________________


Albert-Ernest Carrier-Belleuse

1824 - 1887

L'Enlèvement d'Hippodamie


signé CARRIER.BELLEUSE, pastille BRONZE GARANTI AU TITRE PARIS

bronze à patine brune

H. 64 cm ; 25 ⅕ in.

The bronze is in very good condition overall, with minor surface dirt in the crevices, and a circa 3 mm oxidation stain to the drapery at the back. Minor wear and scratches to the patina in some places, in particular to Hippodamia’s right thigh. A casting joint visible to the horse’s tail. The patina has been slightly retouched in some places.

Very crisp and good cast which can be highly recommended.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Related Literature / Références bibliographiques

J. Hargrove, The Life and Work of Albert Carrier-Belleuse, New York and London, 1977, pp. 257-8, fig. 244;

P. Fusco, H.W. Janson (dir.), The Romantics to Rodin: French nineteenth-century sculpture from North American collections, exh. cat., Los Angeles County Museum of Art, 1980, pp. 164-6, no. 50;

J. Hargrove, G. Grandjean, Carrier-Belleuse, Le Maître de Rodin, exh. cat., Palais de Compiègne, 2014, fig. 27.

It has been justifiably suggested that this group owes much to the involvement of Auguste Rodin. It is first documented in 1871 when a terracotta version was included in a selection of models offered in Brussels in July of that year. Hargrove has demonstrated that the centaur's body which ripples with a bold musculature is characteristic of Rodin's models for the Vase of the Titans, and that the screaming face is very similar to Rodin's The Calls to Arms of 1878. The absence of specific reference to Rodin's part in the Enlèvement may be explained by the fact that his contribution would have occurred whilst he was still contractually working for Carrier-Belleuse's, although, by the early 1870s serious differences were already well apparent. Certainly, there are no obvious comparison in Carrier-Belleuse's oeuvre for the specific treatment of the centaur.


On the other hand, the ideal forms of Hippodamia are typical of so many Carrier-Belleuse mythological nudes. Also characteristic of him is the eclectic sources for the composition. It is certainly indebted to famous rape groups of the Renaissance, such as Giambologna's Nessus and Dejaneira and Rapt of the Sabine, but the powerful pose of the centaur's body is close to Antoine-Louis Barye's Cheval surpris par un lion.


There are versions of L'Enlèvement recorded in terracotta, marble and bronze.


This dynamic sculptural group depicts a famous scene drawn from Ovid. Pirithous, King of the Lapiths, invited the centaurs to celebrate his marriage to the beautiful Hippodamia. The drunken centaurs became out of control and the centaur Eurityon tried in vain to abduct Hippodamia. King Pirithous assisted by Theseus, later took revenge on the centaurs in a battle known as the Centauromachy, a scene depicted throughout art history, from the Parthenon to Piero di Cosimo and Peter Paul Rubens.