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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
Fernand Pelez - The Death of Emperor Commodus
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

Ugolino

Jean-Baptiste
Carpeaux
Valenciennes, 1827- Courbevoie, 1875
1862 ?
Plaster patinated
195 x 150 x 110 cm

Ugolino, which was completed in 1861, marked the end of Carpeaux’s studies at the French Academy in Rome. This masterly group is no longer the work of a student, a fact which did not escape the attention of either the French in Rome or the Parisian administrators of the French School of Fine Art, who supported the artist in this huge undertaking.
The subject is taken from Dante’s Divine Comedy in which the poet describes Ugolino, the tyrant of Pisa chained and walled up in the Tower of Hunger with his offspring (Canto XXXIII). When his children see him gnawing his hands in despair, they offer themselves to be devoured out of filial piety.
The work acknowledges its debt to the great models of sculpture: the interlacing of bodies is inspired by a famous group of classical antiquity, Laocoon, in the Vatican Belvedere Palace; the musculature and Ugolino’s expression recall Michelangelo. Each element has been the subject of many sketches and drafts combined in a twisted pyramid shape. It is possible to see in this despairing Ugolino Carpeaux the artist himself, already tormented by the act of creation, debt and the authorities.
The state commissioned a bronze in 1862 (Musée d’Orsay) from the 1861 plaster original. The example in the Petit Palais was patinated by Carpeaux himself in order to study the final appearance of the work before casting.

Donor, testator or seller: 
Donated by Louise Clément-Carpeaux, the artist’s daughter, in 1938
Inventory number: 
PPS01573
Inventory number : PPS01573
Room 14. Jean Baptiste Carpeaux
The 19th century
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