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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore
Paul Delaroche - Portrait d'Horace Delaroche
Théobald Chartran - Priam asking Achilles for the return of Hector's body
 Escalier de cristal - Ecran de cheminée

Mademoiselle Fiocre

Valenciennes, 1827 - Courbevoie, 1875
Vers 1869-1870
84 x 53 x 33 cm

The charming features of Mademoiselle Fiocre are an example of the talents of Carpeaux, who has left the legacy of a remarkable gallery Second Empire portraits.

In 1870, Eugénie Fiocre, prima ballerina at the Paris Opera, was at the peak of her career and was also the charming star of Coppelia. Carpeaux executed this bust whilst working on one of his major works, Dance, a bas-relief for the facade of the Opera house. The marble, which was exhibited at the Salon of 1870, was admired by the Goncourt brothers.

Rather than portray her as a ballerina, as Degas had done several years previously, Carpeaux depicts Eugénie Fiocre in the manner of his usual models - duchesses, marchionesses and princesses. Her smooth bust emerges from flowing folds of drapery borrowed from the best portraits of the baroque era and is perched on a classical pedestal.
This elegant formula enhances all of Carpeaux’s female busts. Here, by paying tribute to the curve of her back, delicate features, pert nose and captivating beauty, he succeeds in capturing what his model would become.
In actual fact, the fate of dancers in the 19th century was not an enviable one: poverty, decline and prostitution awaited them on leaving the Opera. Eugénie Fiocre proved to be a lucky exception: she married well after a career crowned with glory.

Donor, testator or seller: 
Donated by Louise Clément-Carpeaux, the artist’s daughter, in 1938
Inventory number: 
Inventory number : PPS01536
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