+ ALL CITY OF PARIS MUSEUMS

Discover all 14 City of Paris museums

» Fermer
Georges Clairin - Portrait of Sarah Bernhardt
Armand Point - Peacock Casket
Camille Alaphilippe - Woman with Monkey
Aristide  Maillol - Seated female nude with her left hand on her head. Study for The Mediterranean
Louis-Robert Carrier-Belleuse - The Struggle for Life vase
Léon  Lhermitte - Les Halles
Fernand Pelez - The Death of Emperor Commodus
Pierre-Auguste Renoir - Ambroise Vollard in a Red Scarf
Jean Carriès - My Portrait
Emile Gallé - Two-handled vase
Georges-Henri Lemaire - Silence or Immortality
Charles-Alexandre Giron - Woman wearing gloves, also known as The Parisienne
Paul Sérusier - Tricoteuse au bas rose
Pierre-Auguste  Renoir - Portrait of Madame de Bonnières
Berthe Morisot - Jeune fille en décolleté - La fleur aux cheveux
Pierre Bonnard - Conversation à Arcachon
Pierre-Adrien Dalpayrat - Dish : The judgment of Paris
Joseph-Marius Avy  - Bal blanc
Marie Constantine Bashkirtseff - Parisienne, Portrait of Irma
Maurice Denis - Female bathers at Perros-Guirec
Fernand Pelez - La Vachalcade
Alfred Sisley - The Church at Moret (Evening)
Théophile Alexandre Steinlen - Ball on the 14th of July
Edmond  Aman-Jean - Miss Ella Carmichaël
Raoul Larche - Buste d'enfant (portrait présumé de Marcel Lerolle)

Grotesque mask, fragment of the reverse side

Jean
Carriès
Lyon, 1855- Paris, 1894
Between 1891 and 1894
Enamelled stoneware
28 x 21 x 7 cm

In March 1890, two years after installing his kilns at Saint-Amand-en-Puisaye in the Nièvre département, Carriès received the commission he had always dreamed of: an enormous door surrounded in stoneware tiles dividing the studio of the fabulously wealthy American Winaretta Singer, future Princess Edmond de Polignac.

She agreed to this plan for a monumental door on the basis of a drawing by Eugène Grasset, a friend of the sculptor. The door was to be decorated with animals in the medieval style, but Carriès let his imagination transform the project and it was swiftly invaded by the strange beings which featured in his nightmares.
It was a huge task and the self-taught potter learnt on the job. He hired workers who carried out experiments with different clays, glazes and firings. When he died in 1894, he had finished the full-size plaster model of the Door, but had not been able to complete all the stoneware tiles. Scarcely one third of the 600 irregularly shaped tiles envisaged exist in stoneware.
This tile was to occupy a very specific position as the only figurative element positioned on the rear of the Door to watch visitors entering Winaretta Singer’s studio. Its terrifying appearance is emphasised by skilful glazing, with the opaque eyes contrasting with the transparent glaze of the face: it is truly the Guardian of the sanctuary.

Donor, testator or seller: 
Gift of Georges Hoentschel, 1904
Inventory number: 
PPS00440
Inventory number : PPS00440
Room 19. Carriès, sculptor and potter
Paris 1900
Roll your mouse over the exhibit to view detail.
Previous
31 / 55
Next