Charpentier Relief for Getty

Alexandre Charpentier, Young Mother Breastfeeding Her Child, 1882 (model) and about 1895 (cast). Getty Museum
The Getty Museum has acquired Young Mother Breastfeeding Her Child, a stoneware relief by French sculptor Alexandre Charpentier (1856–1909). The image of the artist's sister-in-law and infant, first executed in plaster in 1882, made Charpentier's reputation. The French state bought the plaster and commissioned a marble. Charpentier subsequently produced bronze and stoneware versions. The luminous gold-ochre color of the Getty's relief stands out in the gallery of late nineteenth century sculpture.  

There is another stoneware Young Mother at the Musée d'Orsay and bronzes at the National Gallery of Art, the Carnegie Museum of Art, and the Huntington. The Huntington bronze, bought in Henry and Arabella's time and once displayed in their mansion, is 46 in.-high and dated about 1890. It is hung in a Reference Library staircase, off-limits to visitors. 

Charpentier's generation perceived stoneware (grès) as an honest, unpretentious alternative to traditional bronze and marble. Young Mother was cast by the firm of Emile Muller, which also made building tiles. Stoneware is capable of taking sharp lines, displaying Charpentier's skill for anatomy and perspective. The virtuosic foreshortening of the child's legs invites comparison to Renaissance reliefs. 

With the rise of Art Nouveau, Charpentier became interested in the Gesamtkunstwerk, an architectural environment incorporating the arts into daily life. The Getty relief anticipates that philosophy, as it was once installed in the nursery of a suburban Paris home.

Charpentier's signature, Young Mother Breastfeeding Her Child

Comments

Beautiful echoes of Renaissance mastery. Love baby's toes.

https://www.metmuseum.org/art/collection/search/192716
Anonymous said…
> The Getty Museum
> has acquired

Someone mentioned that well after the notorious reign of Barry Munitz (who I believe is listed as a board member of the Broad), the Getty often doesn't have an annual acquisitions record fitting for its budget.

Of course, most of the really good artworks have long been latched onto by museums throughout the world, either on display or in their storerooms. Still, just as LACMA's special exhibition schedule seems to be affected by personal preferences (hip! cool! trendy!) as much as by money alone, I wonder if the Getty has its own version of the same problem?

Someone a few weeks
Anonymous said…
> There is another stoneware
> Young Mother at the
> Musée d'Orsay

Some of its collection makes me pause just as I'm sure a lot in the Lucas Museum will cause me to do. Similarly, the d'Orsay is a relative newcomer to Paris, dating back to only the 1980s.

I recall a critic writing that he didn't think various works in the American collection of the Metropolitan, after a new, larger space was built for it, necessarily deserved to be on full-time display.

However, I generally think the more is better, with MOCA on Grand Ave being the opposite extreme.
Re "...Orsay is a relative newcomer to Paris, ...":
Much of what Orsay has was transferred to it from other venerable French national collections.
Anonymous said…
^ Paris's cultural-museum scene since the 1970s has moved way beyond mainly the Louvre. With the opening of the Grand Egyptian Museum, the same has occurred in Cairo too. A similar trend has happened in plenty of other cities throughout the world.

That's why "tract house" LACMA of 1965-1986 or modest-sized MOCA (Grand Ave) of 1986 really doesn't cut it in the 2020s. The Broad of 2015 with its 50,000 square feet now also comes off as, "is that all there is?" too.