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拍品專文
Paris, Exposition Chinard au Musée des Arts décoratifs, November 1909 – January 1910.
Joseph Chinard was a native of Lyon and had his early training there before travelling to Italy in 1784. He spent three years in Rome and in 1786 won first prize for sculpture at the Accademia di S. Luca, the first Frenchman to have done so for 60 years. He returned to Lyon and successfully established himself, executing both public and private commissions. Following further stints in Paris and again in Rome, he returned to Lyon where he spent most of the remainder of his career.
The present marble self-portrait of the artist is related to two terracotta versions of it, both of which are in French museums. What is thought to be the original model is in the musée Girodet in Montargis which was included in the recent exhibition of European terracottas, L’esprit créateur (loc. cit.). In his entry on the terracotta, Jim Draper suggests that Chinard’s pose is based on an antique marble of the orator Aeschines which had been excavated at Herculaneum in 1779, and which may have been seen by Chinard during one of his sojourns in Italy. The addition of the lion at the sculptor’s feet could be a reference to the sculptor’s courage in the face of political adversity, but it is almost certainly also intended as the sculptural equivalent of the artist’s habitual signature ‘Chinard de Lyon’.
A second terracotta example is in the bibliotéque Marmottan de Boulogne-Billancourt and this seems to be a transitional model between the Montargis example and the present marble. Various subtle details exist but the most noticeable is the inclusion of a shirt collar visible under the heavy cloak worn by the artist. The marble differs again from the Marmottan figure in having a square base as opposed to a circular one seen on both of the terracottas.
The marble offered here stood on the artist’s own tomb in the cemetery of Loyasse in Lyon, before being retrieved by the family. It is not known if the original terracotta was created with this intention, but the defiant yet introspective nature of the portrait, as well as the heavy cloak which recalls mourning figures of mediaeval tombs, all suggest that it may always have been destined to be Chinard’s final image of himself.
Joseph Chinard was a native of Lyon and had his early training there before travelling to Italy in 1784. He spent three years in Rome and in 1786 won first prize for sculpture at the Accademia di S. Luca, the first Frenchman to have done so for 60 years. He returned to Lyon and successfully established himself, executing both public and private commissions. Following further stints in Paris and again in Rome, he returned to Lyon where he spent most of the remainder of his career.
The present marble self-portrait of the artist is related to two terracotta versions of it, both of which are in French museums. What is thought to be the original model is in the musée Girodet in Montargis which was included in the recent exhibition of European terracottas, L’esprit créateur (loc. cit.). In his entry on the terracotta, Jim Draper suggests that Chinard’s pose is based on an antique marble of the orator Aeschines which had been excavated at Herculaneum in 1779, and which may have been seen by Chinard during one of his sojourns in Italy. The addition of the lion at the sculptor’s feet could be a reference to the sculptor’s courage in the face of political adversity, but it is almost certainly also intended as the sculptural equivalent of the artist’s habitual signature ‘Chinard de Lyon’.
A second terracotta example is in the bibliotéque Marmottan de Boulogne-Billancourt and this seems to be a transitional model between the Montargis example and the present marble. Various subtle details exist but the most noticeable is the inclusion of a shirt collar visible under the heavy cloak worn by the artist. The marble differs again from the Marmottan figure in having a square base as opposed to a circular one seen on both of the terracottas.
The marble offered here stood on the artist’s own tomb in the cemetery of Loyasse in Lyon, before being retrieved by the family. It is not known if the original terracotta was created with this intention, but the defiant yet introspective nature of the portrait, as well as the heavy cloak which recalls mourning figures of mediaeval tombs, all suggest that it may always have been destined to be Chinard’s final image of himself.