Jules Coutan: Difference between revisions

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| death_date = 1939
| death_date = 1939
| death_place =
| death_place =
| nationality = [[France]]
| nationality = France
| field =
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== Life ==
== Life ==


As a student at the [[Ecole des Beaux-Arts]], Coutan was awarded the [[Prix de Rome]] in 1872; after his return to Paris he executed the fountain group ''France Bearing the Torch of Civilization'' for the [[Exposition Universelle (1889)]], one of the two prominent sculptural commissions for the Exposition grounds.<ref>On the theme of a linear progress of humanity displayed at the Exposition, Pascal Ory remarks, "ce n'est évidemment pas un hasard si les deux principales commandes de l'Expo en matière de statuaire ont été consacrées respectivement à une ''Fontaine du progrès'' (Coutan) et à un groupe intitulé officiellement ''La Nuit essayant d'arrêter le génie de la Lumière qui s'efforce d'éclairer la Verité''" (P. Ory, ''L'Expo universelle, 1889'', 1989:20f).</ref> Later he taught at the [[École des Beaux-Arts]] from 1900, where he expressed his disdain for the researches of [[Auguste Rodin|Rodin]]— ''fumiste''—<ref>Claire Maingon, "Les effets de la Grande Guerre sur la carrière d'un jeune sculpteur", ''Emulations'', 2007; French ''fumiste'' signifies one who is not serious.</ref> and the [[Impressionist]] sculptors who followed him. He was elected to the [[Académie des Beaux-Arts]] in 1905.<ref>K. S.-D.: "Coutan, Jules Félix (Jules)", in: ''Allgemeines Künstlerlexikon'', vol 22, p. 21</ref>
As a student at the [[École des Beaux-Arts]], Coutan was awarded the [[Prix de Rome]] in 1872; after his return to Paris he executed the fountain group ''France Bearing the Torch of Civilization'' for the [[Exposition Universelle (1889)]], one of the two prominent sculptural commissions for the Exposition grounds.<ref>On the theme of a linear progress of humanity displayed at the Exposition, Pascal Ory remarks, "ce n'est évidemment pas un hasard si les deux principales commandes de l'Expo en matière de statuaire ont été consacrées respectivement à une ''Fontaine du progrès'' (Coutan) et à un groupe intitulé officiellement ''La Nuit essayant d'arrêter le génie de la Lumière qui s'efforce d'éclairer la Verité''" (P. Ory, ''L'Expo universelle, 1889'', 1989:20f).</ref> Later he taught at the [[École des Beaux-Arts]] from 1900, where he expressed his disdain for the researches of [[Auguste Rodin|Rodin]]— ''fumiste''—<ref>Claire Maingon, "Les effets de la Grande Guerre sur la carrière d'un jeune sculpteur", ''Emulations'', 2007; French ''fumiste'' signifies one who is not serious.</ref> and the [[Impressionist]] sculptors who followed him. He was elected to the [[Académie des Beaux-Arts]] in 1905.<ref>K. S.-D.: "Coutan, Jules Félix (Jules)", in: ''Allgemeines Künstlerlexikon'', vol 22, p. 21</ref>


Coutan is best known in the [[United States]] for the sculptural group above the entrance to [[Grand Central Terminal]] in New York City. For Grand Central Terminal, Coutan was contracted to provide a quarter-size scale plaster model of the three-figure allegorical ''Transportation'' group, which he developed from 1911 through 1914. (Coutan never visited the U.S.) The carving was performed by the [[William Bradley & Son]] of Long Island City.<ref>http://query.nytimes.com/mem/archive-free/pdf?res=9F0DE5DF143AE633A25757C1A9609C946596D6CF</ref>
Coutan is best known in the United States for the sculptural group above the entrance to [[Grand Central Terminal]] in New York City. For Grand Central Terminal, Coutan was contracted to provide a quarter-size scale plaster model of the three-figure allegorical ''Transportation'' group, which he developed from 1911 through 1914. (Coutan never visited the U.S.) The carving was performed by the [[William Bradley & Son]] of Long Island City.<ref>http://query.nytimes.com/mem/archive-free/pdf?res=9F0DE5DF143AE633A25757C1A9609C946596D6CF</ref>


The small bronzes, some stamped by the founders Thiebaut Frères, that represented a constant source of income for Coutan and a genre typical of his output, appear with some frequency on the art market.<ref>Examples: [http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=43ZS7 ''Standing Cupid'', 1875]; [http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159449766 ''Union of Work and Peace'', 1893, presented to Louis Lemoine by his employees]; [http://www.arcadja.com/auctions/en/coutan_jules_f%C3%A9lix/artist/49358/ further examples].</ref>
The small bronzes, some stamped by the founders Thiebaut Frères, that represented a constant source of income for Coutan and a genre typical of his output, appear with some frequency on the art market.<ref>Examples: [http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=43ZS7 ''Standing Cupid'', 1875]; [http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159449766 ''Union of Work and Peace'', 1893, presented to Louis Lemoine by his employees]; [http://www.arcadja.com/auctions/en/coutan_jules_f%C3%A9lix/artist/49358/ further examples].</ref>
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* [[caryatid]]s for the [[Opéra-Comique]], Paris, 1899
* [[caryatid]]s for the [[Opéra-Comique]], Paris, 1899
* reliefs ''Science'' and ''Labor'' for the [[Pont de Bir-Hakeim|Pont de Passy]] (now the Pont de Bir-Hakeim), Paris
* reliefs ''Science'' and ''Labor'' for the [[Pont de Bir-Hakeim|Pont de Passy]] (now the Pont de Bir-Hakeim), Paris
* bas-reliefs for the polychrome terra-cotta facade in the Square [[Félix-Desruelles]], with architect Charles Risler, for [[Manufacture nationale de Sèvres|Sèvres Porcelain]]<ref>http://www.flickr.com/photos/iainmclauchlan/4190804607/</ref>, circa 1900
* bas-reliefs for the polychrome terra-cotta facade in the Square [[Félix-Desruelles]], with architect Charles Risler, for [[Manufacture nationale de Sèvres|Sèvres Porcelain]],<ref>http://www.flickr.com/photos/iainmclauchlan/4190804607/</ref> circa 1900
* figure of ''La France de la Renaissance'' for the [[Pont Alexandre III]], circa 1900
* figure of ''La France de la Renaissance'' for the [[Pont Alexandre III]], circa 1900
* high relief, ''The Eagle Hunters'' for the facade of the [[Muséum national d'histoire naturelle]] in Paris; also the plaster model at the [[Musée d'Orsay]] (1893–1900);<ref>[http://www.insecula.com/oeuvre/O0013645.html illustrated]</ref>; bronze cast (1900), installed
* high relief, ''The Eagle Hunters'' for the facade of the [[Muséum national d'histoire naturelle]] in Paris; also the plaster model at the [[Musée d'Orsay]] (1893–1900);<ref>[http://www.insecula.com/oeuvre/O0013645.html illustrated]</ref> bronze cast (1900), installed
* ''Glory of Commerce'' group for [[Grand Central Terminal]], NYC, circa 1911
* ''Glory of Commerce'' group for [[Grand Central Terminal]], NYC, circa 1911
* the bust of [[Jean-Charles Alphand]] at the [[Père Lachaise Cemetery]]
* the bust of [[Jean-Charles Alphand]] at the [[Père Lachaise Cemetery]]

Revision as of 15:53, 2 May 2012

Jules Coutan
Born1848
Died1939
NationalityFrance
AwardsPrix de Rome
The Eagle Hunters for the facade of the Museum d'Histoire naturelle, Paris
Glory of Commerce, Grand Central Terminal, 1911-14
Jose C. Paz tomb, La Recoleta Cemetery, Buenos Aires, Argentina

Jules-Felix Coutan (1848–1939) was a French sculptor and educator.

Life

As a student at the École des Beaux-Arts, Coutan was awarded the Prix de Rome in 1872; after his return to Paris he executed the fountain group France Bearing the Torch of Civilization for the Exposition Universelle (1889), one of the two prominent sculptural commissions for the Exposition grounds.[1] Later he taught at the École des Beaux-Arts from 1900, where he expressed his disdain for the researches of Rodin— fumiste—[2] and the Impressionist sculptors who followed him. He was elected to the Académie des Beaux-Arts in 1905.[3]

Coutan is best known in the United States for the sculptural group above the entrance to Grand Central Terminal in New York City. For Grand Central Terminal, Coutan was contracted to provide a quarter-size scale plaster model of the three-figure allegorical Transportation group, which he developed from 1911 through 1914. (Coutan never visited the U.S.) The carving was performed by the William Bradley & Son of Long Island City.[4]

The small bronzes, some stamped by the founders Thiebaut Frères, that represented a constant source of income for Coutan and a genre typical of his output, appear with some frequency on the art market.[5]

Among Coutan's students were Hippolyte Lefèbvre, Raymond Delamarre, and the Argentine sculptor Rogelio Yrurtia.

Work

References

  1. ^ On the theme of a linear progress of humanity displayed at the Exposition, Pascal Ory remarks, "ce n'est évidemment pas un hasard si les deux principales commandes de l'Expo en matière de statuaire ont été consacrées respectivement à une Fontaine du progrès (Coutan) et à un groupe intitulé officiellement La Nuit essayant d'arrêter le génie de la Lumière qui s'efforce d'éclairer la Verité" (P. Ory, L'Expo universelle, 1889, 1989:20f).
  2. ^ Claire Maingon, "Les effets de la Grande Guerre sur la carrière d'un jeune sculpteur", Emulations, 2007; French fumiste signifies one who is not serious.
  3. ^ K. S.-D.: "Coutan, Jules Félix (Jules)", in: Allgemeines Künstlerlexikon, vol 22, p. 21
  4. ^ http://query.nytimes.com/mem/archive-free/pdf?res=9F0DE5DF143AE633A25757C1A9609C946596D6CF
  5. ^ Examples: Standing Cupid, 1875; Union of Work and Peace, 1893, presented to Louis Lemoine by his employees; further examples.
  6. ^ http://www.flickr.com/photos/iainmclauchlan/4190804607/
  7. ^ illustrated

"Jules-Felix Coutan on artnet". Retrieved 2007-11-26.

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