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Large bust in Carrara marble representing Madame Juliette Récamier*, her hands crossed on her chest, her curly hair held back by an elegant headband, after the famous bust sculpted by Joseph Chinard**, from the 19th century.
This bust is in good condition and is of remarkable quality.
The Bust of Juliette Récamier is a marble sculpture created between 1804 and 1806 by Joseph Chinard (1756-1813). It represents Juliette Récamier (1777-1849), famous salonnière of the Société du Directoire et du Consulate. The original bust, of which there are several copies, is kept at the Museum of Fine Arts in Lyon. The bust is bare, covered only by a veil which she holds with her hands crossed over her chest. She has her head slightly tilted, keeping her gaze down, thick curly hair is held in place by a headband wrapped around her head.
Please note: a piece of the base is broken and will need to be glued back together (see red arrow), this bust will need to be cleaned, some dirt, scratches and wear from time, look carefully at the photos.
* Juliette or Julie Récamier known as Madame Récamier(1777-1849) is a woman of spirit and Merveilleuse of the Directory. In 1793, at the age of 15 and in the midst of the Terror, Juliette was married to a friend of her parents, Mr. Récamier, a rich banker from Paris with whom she formed an affectionate and platonic relationship: she was probably his natural daughter, which she learned much later. The salon that Juliette Récamier opened soon became the meeting place of a select society, but it did not take long to arouse the umbrage of those in power. Madame Récamier's beauty and charm attracted a crowd of admirers. It was one of the first to furnish itself in the "Etruscan" style and to dress "in the Greek style", under the Directory, and therefore played a significant role in the diffusion of the taste for Antiquity which would go prevail under the Empire. Friend of Madame de Staël and after the Empire, of Chateaubriand, she was a key figure in the opposition to Napoleon's regime. His salon played a significant role in the political and intellectual life of the time. She ends up being removed from Paris by the imperial police. After having stayed for some time from September 1811 to June 1812 in Châlons-sur-Marne then in Lyon, where she became friends with Camille Jordan and Ballanche, she visited Italy and was only able to see France again after the fall of Napoleon. It was also at this time that she formed a relationship with Benjamin Constant, ex-lover of Madame de Staël. Tested by major reversals of fortune, she moved in 1819 to Abbaye-aux-Bois in Paris. She was no less sought after by the world she was fleeing, and saw her retreat frequented by all the celebrities of the time: Chateaubriand, one of the most assiduous, remained her most intimate friend until her death.
is a French neoclassical sculptor. In 1770, Chinard joined the drawing school of the city of Lyon, directed by Donat Nonnotte, then the sculpture workshop of Blaise Barthélémy. From 1784 to December 1787, he lived in Rome to improve his technique and form his artistic taste. . During his stay he made many copies of ancient works in marble, a large number of which were purchased by his patron for his hotel in Lyon. In 1789, acquired by new ideas, he was aware that artists had a role to play in the French Revolution, he developed a style different from the artists of his time by renewing the iconography. He spent two stays of 6 and 2 months in prison, the first for having displeased the Jacobins, the second the Pope. Joseph Chinard exhibited for the first time at the Paris Salon in 1798 where he presented "Child escaping shipwreck by making a basket with the weapons of love". After a third and final trip to Rome, he returned in 1800 to Lyon where he settled permanently. Enjoying a good reputation, he was appointed correspondent of the Institute, before becoming in 1807, by imperial decree, professor of sculpture at the Special Drawing School of Lyon. In 1808, Joseph Chinard received the Grand Gold Medal from the Paris Salon. French neoclassical sculptor, he is recognized as one of the greatest sculptors of his time for the fidelity of his execution, the rendering of the flesh in his busts, and the imagination of his compositions. He died at age 57 of a ruptured aneurysm.
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