South End, Boston and Jean-Baptiste Carpeaux: Difference between pages

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[[Image:Jean-Baptiste Carpeaux's marble sculpture 'Ugolino and his Sons', Metropolitan Museum of Art.jpg|thumb|right|400px|Jean-Baptiste Carpeaux's marble sculpture 'Ugolino and his Sons', Metropolitan Museum of Art]]
{{redirect|South End}}
[[Image:Jean-Baptiste_Carpeaux_La_Danse.jpg|thumb|right|400px|La Danse (The Dance), Opera Garnier in Paris]]
{{Infobox_nrhp | name =South End District
{{Commonscat}}
| nrhp_type =
| image =
| caption =
| location= [[Boston, MA]]
| area =
| built =1848
| architect= Multiple
| architecture= Greek Revival, Late Victorian, Italianate
| added = [[May 08]], [[1973]]
| governing_body = Local
| refnum=73000324 <ref name="nris">{{cite web|url=http://www.nr.nps.gov/|title=National Register Information System|date=2007-01-23|work=National Register of Historic Places|publisher=National Park Service}}</ref>
}}
The '''South End''' is a neighborhood in [[Boston, Massachusetts|Boston]], [[Massachusetts]].


'''Jean-Baptiste Carpeaux''' ([[May 11]], [[1827]], [[Valenciennes]] –[[October 12]], [[1875]], [[Courbevoie]]) was a French sculptor and painter. His early studies were under [[François Rude]]. Carpeaux won the [[Prix de Rome]] in [[1854]], and moving to [[Rome]] to find inspiration, he there studied the works of [[Michelangelo Buonarroti|Michelangelo]], [[Donatello]] and [[Andrea del Verrocchio|Verrocchio]]. Staying in Rome from [[1854]] to [[1861]], he obtained a taste for movement and spontaneity, which he joined with the great principles of [[baroque art]]. In [[1861]] he made a bust of [[Mathilde Bonaparte|Princess Mathilde]], and this later brought him several commissions from [[Napoleon III]]. He worked at the pavilion of [[Flora (goddess)|Flora]], and the [[Opéra Garnier]]. His group La Danse (the Dance, [[1869]]), situated on the right side of the façade, was criticised as an offence to common decency.
==Geography==
[[Image:BostonNeck.jpg|thumb|245px|'''The Boston Neck:''' the trajectory of today's Washington Street, which was formerly flanked by tidal marshes that were filled in over the years.]]
The South End lies south of the [[Back Bay, Boston|Back Bay]], northwest of [[South Boston]], northeast of [[Roxbury, Massachusetts|Roxbury]], north of [[Dorchester, Massachusetts|Dorchester]], and southwest of [[Bay Village, Boston|Bay Village]]. Despite the name, it is not directly south of the center of downtown Boston.


He never managed to finish his last work, the famous Fountain of the Four Parts of the Earth, on the Place Camille Jullian. He did finish the terrestrial globe, supported by the four figures of [[Asia]], [[Europe]], [[North America|America]] and [[Africa]], and it was [[Emmanuel Frémiet]] who completed the work by adding the eight leaping horses, the tortoises and the dolphins of the basin.
The neighborhood is built upon a former tidal marsh, a part of a larger project of the filling of Boston's Back Bay (north and west of Washington Street) and [[South Bay, Boston, Massachusetts|South Bay]] (south and east of Washington Street), from the [[1830s]] to the [[1870s]]. Fill was brought in by trains from large trenches of gravel excavated in [[Needham, Massachusetts]]. The South End was filled and developed first, before the Back Bay which was mostly built after the [[American Civil War]]. Nineteenth century technology did not allow for driving steel [[pile]]s into [[bedrock]] and instead a system of submerged timbers provided an understructure for most South End buildings. Recent decreases in underground water levels has caused damage to some wood pilings by exposing them to air. A series of [[monitoring well]]s have been drilled and the water level is now checked, and can be adjusted by the introduction of water.


== Sculptures by Carpeaux ==
The South End was once bordered to the north and west by the [[Boston & Providence Railroad]], which terminated at the B&P RR Station bordering the Public Garden. The railroad line is now covered by the Southwest Corridor Park and terminates at [[Back Bay Station]]. Most of the cross streets in the neighborhood are named after cities and towns served by the railroad: [[Greenwich, Connecticut]], [[Newton, Massachusetts|Newton]], [[Canton, Massachusetts|Canton]], [[Dedham, Massachusetts|Dedham]], [[Brookline, Massachusetts|Brookline]], [[Rutland (city), Vermont|Rutland, Vermont]], [[Concord, Massachusetts|Concord]], [[Worcester, Massachusetts|Worcester]], [[Springfield, Massachusetts|Springfield]], [[Camden, Maine]], [[Northampton, Massachusetts|Northampton]], [[Sharon, Massachusetts|Sharon]], [[Randolph, Massachusetts|Randolph]], [[Plympton, Massachusetts|Plympton]], [[Stoughton, Massachusetts|Stoughton]], [[Waltham, Massachusetts|Waltham]], [[Dover, Massachusetts|Dover]], [[Chatham, Massachusetts|Chatham]], [[Bristol, Connecticut]], and [[Wareham, Massachusetts|Wareham]].


* Ugolin et ses fils - [[Ugolino della Gherardesca|Ugolino]] and his Sons (1861, in the permanent collection of the [[Metropolitan Museum of Art]])[[http://www.insecula.com/oeuvre/photo_ME0000009025.html]] with versions in other museums including the [[Musée d'Orsay]]
The primary business thoroughfares of the South End are [[Tremont Street|Tremont]] and [[Washington Street, Boston|Washington Streets]], from West Newton Street to Berkeley Street. Washington Street, the original causeway that connected Roxbury to Boston, experienced considerable reinvestment in the 1990s. The street was once defined by the [[Washington Street Elevated]], an elevated train that was moved to below Southwest Corridor Park in the 1980s. Today Washington is the route of the [[Silver Line (MBTA)|Silver Line]], Boston's first [[bus rapid transit]] line. Columbus Avenue, the third main street of the South End, also has numerous restaurants and provides a remarkable straight-line view to the steeple of [[Park Street Church]]. Today the modern [[MBTA]] [[Orange Line (MBTA)|Orange Line]] rapid transit train runs along the partially covered [[Southwest Corridor]], with neighborhood stops at [[Back Bay (MBTA station)|Back Bay]] (also an [[MBTA Commuter Rail]] stop due to its proximity to the [[Copley Square]] employment center) and [[Massachusetts Avenue (MBTA station)|Massachusetts Avenue]].
* The Dance (commissioned for the [[Palais Garnier|Opera Garnier]])
* Jeune pêcheur à la coquille - [[Naples|Neapolitan]] Fisherboy - in the [[Louvre]], [[Paris]] [[http://www.insecula.com/oeuvre/photo_ME0000034255.html]]
* Girl with Shell
* [[Antoine Watteau]] monument, [[Valenciennes]]


==Neapolitan Fisherboy==
==Architecture and environment==
[[Image:SErowHouses.JPG|thumb|245px|'''A row of bow-front row houses''' built of red brick, with painted sandstone trim. Operable window shutters were found on nearly all South End homes in the nineteenth century. Installation of operable wood shutters in exterior restoration presents the house as it would have appeared when first built. The style of the house on the left is Renaissance Revival. The houses in the middle and to the right are Greek Revival.]]
[[Image:SouthEndflatfront.jpg|thumb|245px|'''A flat-front row house''' built of red brick with granite trim. Greek Revival influence can be seen in the pediment above the door.]]
The South End is built mostly of mid-nineteenth century bowfronts &mdash; aesthetically uniform rows of five-story, predominantly red-brick structures, of mixed residential and commercial uses. The most common styles are Renaissance Revival, Italianate and French Second Empire, though there are Greek Revival, Egyptian Revival, Gothic Revival, and Queen Anne style houses, among several other styles. Row houses built in the last quarter of the nineteenth century, especially along the present Southwest Corridor Park show the influence of [[Charles Eastlake]] in the incised decoration on stone trim. Despite the style, a common palette of red brick, slate, limestone or granite trim, and cast iron railings provide great visual unity. Today, the South End is listed on the [[National Register of Historic Places]] and is a Boston Landmark District. It is North America's largest extant Victorian residential district. A citizens' group, [[South End Historical Society|The South End Historical Society,]] works with the Boston Landmarks Commission, on matters of historic preservation.


Carpeaux submitted a plaster version of ''Pêcheur napolitain à la coquille'', the Neapolitan Fisherboy, to the [[French Academy]] while a student in [[Rome]]. He carved the marble version several years later, showing it in the Salon exhibition of 1863. It was purchased for [[Napoleon III]]'s empress, [[Eugénie de Montijo|Eugènie]]. The statue of the young smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble and bronze. There is a copy, for instance, in the Samuel H. Kress Collection in the [[National Gallery of Art]] in [[Washington D.C.]]
A series of eleven residential parks are located across the South End, most are elliptical in shape with passive-use green space located in the middle. These residential squares vary in size, and take inspiration from English-inspired residential squares first laid out by Charles Bullfinch downtown. Many of the parks have a central fountain and are bordered with cast iron fencing. Complimenting the nineteenth century residential parks are several newer parks, and a series of sixteen community gardens and pocket parks operated by the [[South End Lower Roxbury Open Space Land Trust]].


Some years later, he carved the Girl with a Shell, a very similar study.
==History and changing demographics==
As the South End geographically grew from filling in land north and west of "the Neck" (today's Washington Street) the city of Boston envisioned a large inner city residential neighborhood to relieve the crowded downtown and Beacon Hill neighborhoods. The city also hoped for a large and stable tax base. Architect [[Charles Bulfinch]] laid out some of the first filled land. He designed a large residential park called Columbia Square located at the present Franklin and Blackstone Squares. Bulfinch's plan was to route traffic around the square, not through it. Eventually his plan was abandoned and Washington street was allowed to once more divide the square creating today's separte squares. A burgeoning middle class did move to the South End including busines owners, two mayors, bankers and industrialists. Though the neighborhood's status as a wealthy neighborhood was relatively short-lived, myths of a dramatic [[white flight]] in the 1880s are not entirely true. A series of national [[financial panic]]s (see e.g. [[Panic of 1884]], [[Economic history of the United States]]), combined with the emergence of new residential housing in Back Bay and [[Roxbury, Massachusetts|Roxbury]] fed a steady decline of whites of [[English Protestant]] ancestry. Still whites remained in the neighborhood, but increasingly they were [[Catholic]] and recent immigrants. By the close of the nineteenth century the South End was becoming a [[tenement]] district, first attracting new immigrants, and in the 1940s single [[gay]] men. The South End also became a center of [[Black people|black]] middle class Boston life and culture. The largest concentration of [[Pullman Porter]]s in the country lived in the South End, mostly between Columbus Avenue and the railroad bed. As the decades progressed, more buildings became [[tenement]]s and by the 1960s absentee landlordism was rampant and the neighborhood was one of the poorest of the city. The first [[settlement house]]s in Boston were in the South End: the South End House, Hale House, Lincoln House, the Harriet Miller House, and the Children's Art Centre. In 1960 these settlement houses merged to form [[United South End Settlements]]<ref>http://www.library.neu.edu/archives/collect/findaids/m126find.htm</ref>.


Carpeaux sought real life subjects in the streets and broke with the classical tradition. The Neapolitan Fisherboy's body is carved in intimate detail and shows an intricately balanced pose. Carpeaux claimed that he based the Neapolitan Fisherboy on a boy he had seen during a trip to [[Naples]].
====Jazz mecca====
Until the 1950s the South End and bordering Roxbury was a [[jazz]] [[mecca]], with clubs such as the Royal Palms, Eddie Levine's, the Pioneer Club, Handy's Grille, Tic-Toc, Connolly's, Estelle's, the Hi-Hat, The Savoy, The Cave, Basin Street, Louie's Lounge, and Wally's Paradise. Wally's is the only venue to have survived to the present day. From 1915 to 1970 the [[American Federation of Musicians]] Local 535 was the top black musicians' union in the country, with local and national musicians such as [[Duke Ellington]], [[Cab Calloway]], [[Chick Webb]], [[Earl Hines]], and [[Jimmie Lunceford]]. Its offices were originally above [[Charlie's Sandwich Shoppe]] (whose walls are lined with photographs of the jazz stars who would eat there), but moved to 409 Massachusetts Avenue around 1930. In 1970 it and the white union (Local 9) were ordered to merge by the courts (Boston Musicians Association Local 9-535) and most of the black musicians left.<ref>http://www.nejazz.org/Community/JazzNotes/moonoogian1985.php</ref>

====Institutions and community organizations====
[[Boston College]] (BC) first opened in the South End in 1863. A few of the original college buildings on Harrison Avenue still stand, though BC moved from the South End to then-rural [[Chestnut Hill, Massachusetts|Chestnut Hill]] as a result of rapid growth and urbanization in the late nineteenth century. Today, the South End is home to the [[Boston Ballet]], the [[Boston Center for the Arts]] (BCA), [[Boston University Medical Center]], and many art galleries and artists studios.

The South End is also host to numerous community organizations including South End Baseball, the [[South End Lower Roxbury Open Space Land Trust]], [[Mytown]] an organization training youth to lead walking tours on neighborhood and Boston history, and the [[South End Historical Society]].

====Diversity====
The South End's population has been diverse since the 1880s when [[Irish people|Irish]], [[Jew|Jewish]], [[African-American]], [[Greeks|Greek]], [[Syrian people|Syrian]], and [[Demographics of Lebanon|Lebanese]] populations began to settle in the neighborhood. In the 1930 a substantial immigration from [[Canada]]'s [[maritime provinces]] found economic opportunity in Boston, and homes in the South End neighborhood. Beginning in the 1940s, particularly after the end of WWII the South End's rooming houses became home to growing numbers of homosexuals, mostly men, but lesbians too. The environment of single sex rooming houses provided home, and social cover for unmarried homosexuals. In the late 1940s a growing population of Hispanic people began settlement. At first much of this settlement was centered around the Cathedral of the Holy Cross. Today the neighborhood remains diverse, integrating people of nearly every race, religion, and sexual orientation. Income levels are anecdotaly reported as stratified: a concentration of the wealthy and the poor. However neither the U.S. Census or City of Boston reports on income of this specific neighborhood. Though [[gentrification]] is sometimes cited as a reason for flight of poorer and non-white residents, the neighborhood has maintained racial and income diversity due to a large number of subsidized, publicly owned or otherwise low-income housing units, and a homeless shelter. Subsidized below market rate housing developments such as Methunion Manor, Cathedral Housing ([[public housing]] project), [[Villa Victoria]] and Tent City vary considerably and represent evolving attitudes in public housing design and governance.

Although all neighborhoods in Boston suffer from crime, the city has a comparatively low incidence of [[street crime]]. The South End is large enough that some parts can be known for street crime while others are [[family friendly]]. The South End has more public [[playgrounds]] per square foot than other Boston neighborhoods. The South End is known as an increasingly [[upper middle class]] neighborhood. Some long-time residents are being pushed out by rising rents and property taxes. Because of a strong low-income agenda from the city, its recent (until the 1970s) history of impoverishment, and the presence of several low income housing projects, the South End will likely remain economically and racially diverse.

The South End is also known as a [[gay]], artistic, and cultural neighborhood, although rising costs in the neighborhood threaten this character. Unlike cities such as New York, there are no city policies to help artists keep their long-term studios. Art galleries, however, are flourishing. One Yahoo! Group for South End parents (Garden Moms) boasts over 1300 members, showing that families are a growing facet of this community.

Though housing in the South End is very expensive by U.S. and [[Greater Boston]] standards — it is rare to find a one bedroom apartment for less than $400,000 — the South End remains relatively less expensive than the wealthiest central Boston neighborhoods (Beacon Hill and the Back Bay).

==Restaurants and retail==
The South End is one of Boston's main restaurant districts offering a diverse mix of cuisines, many at a relatively high price point. Tremont Street is often called "Restaurant Row." The South End's range of restaurants include [[Cuisine of the Southern United States|American southern "Low Country"]], [[French cuisine|French]], [[Ethiopian cuisine|Ethiopian]], [[Brazilian cuisine|Brazilian]], [[Indian cuisine|Indian]], [[Italian cuisine|Italian]], [[Korean cuisine|Korean]], [[Greek cuisine|Greek]], [[Middle Eastern cuisine|Middle Eastern]], [[Cuban cuisine|Cuban]], [[Thai cuisine|Thai]], and [[Japanese cuisine|Japanese]] among others. The South End has a growing retail presence, much of it aimed primarily at upper-middle class shoppers.

New retail shops offer a range of home furnishings, men's and women's clothing, stationary, specialty foods, spa services and a rapidly growing number of manicure and pedicure shops. Several new stores cater to well-heeled dog owners. As recently as 1985 there were no bank offices in the neighborhood. As of autumn 2006 there are seven full service branch offices, an additional four partial-service branches offering home loans and ATMs but without full cashier service, more than forty local bank-linked ATM locations, and additional ATMs operated by retailers with service fees nearly double those in banks.

==Gallery==

<gallery>
Image:Columbus_and_Dartmouth1.jpg|Columbus and Dartmouth leading into the South End
Image:Appleton_and_Dartmouth.jpg|Walking down Dartmouth Place
Image:Warren_and_Dartmouth.jpg|Walking down Dartmouth Place
Image:Warren_and_Dartmouth2.jpg|Side streets in the South End
Image:Union_Square1.jpg|Union Park homes
Image:Union_Park2.jpg|Union Park
Image:Union_Park4.jpg| Fountain in Union Park
Image:UnionPark_Shawmut.jpg|Union Park and Shawmut
Image:Tremont_and_Union2.jpg|Union Park and Tremont
Image:Tremont_Clarendon.jpg|Tremont
</gallery>

==References==
<references />
* Goodman, Phoebe. ''The Garden Squares of Boston.'' University Press of New England: 2003. ISBN 1-58465-298-5.
* Griffin, Arthur, and Esther Forbes. ''The Boston Book.'' Houghton Mifflin Company: 1947.
* Krieger, Alex, and David Cobb. ''Mapping Boston.'' The MIT Press: 1999. ISBN 0-262-11244-2.


==External links==
==External links==
*[http://www.southend.org South End web site]
*[http://www.bostonfamilyhistory.com/neigh_send.html Boston Family History site on the South End]
*[http://www.saintjohnthebaptist.org St. John the Baptist, Hellenic/Greek Orthodox Church of the South End]


*[http://cartelfr.louvre.fr/cartelfr/visite?srv=rs_display_res&critere=jean+baptiste+carpeaux&operator=AND&nbToDisplay=5&langue=fr A page on the official Louvre site giving access to some of Carpeaux's works (French language only)]
{{Boston neighborhoods}}
*[http://www.insecula.com/contact/A005511_oeuvre_1.html A page from insecula.com listing more views of Carpeaux's works (also in French;] it may be necessary to close an advertising window to view this page)
*[http://www.studiolo.org/MMA-Ugolino/Ugolino.htm A page analysing Carpeaux's ''Ugolino'', with numerous illustrations]


[[Category:Boston neighborhoods]]
[[Category:French sculptors|Carpeaux, Jean-Baptiste]]
[[Category:Gay villages]]
[[Category:1827 births|Carpeaux, Jean-Baptiste]]
[[Category:Boston cultural history|South End]]
[[Category:1875 deaths|Carpeaux, Jean-Baptiste]]
[[Category:Registered Historic Places in Massachusetts]]


[[de:Jean-Baptiste Carpeaux]]
[[fr:South End (Boston)]]
[[fr:Jean-Baptiste Carpeaux]]
[[nl:Jean-Baptiste Carpeaux]]
[[pl:Jean-Baptiste Carpeaux]]
[[pt:Jean-Baptiste Carpeaux]]
[[zh:让-巴蒂斯·卡尔波]]

Revision as of 01:07, 19 June 2007

Jean-Baptiste Carpeaux's marble sculpture 'Ugolino and his Sons', Metropolitan Museum of Art
La Danse (The Dance), Opera Garnier in Paris
Wikimedia Commons has media related to Jean-Baptiste Carpeaux.

Jean-Baptiste Carpeaux (May 11, 1827, Valenciennes –October 12, 1875, Courbevoie) was a French sculptor and painter. His early studies were under François Rude. Carpeaux won the Prix de Rome in 1854, and moving to Rome to find inspiration, he there studied the works of Michelangelo, Donatello and Verrocchio. Staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. In 1861 he made a bust of Princess Mathilde, and this later brought him several commissions from Napoleon III. He worked at the pavilion of Flora, and the Opéra Garnier. His group La Danse (the Dance, 1869), situated on the right side of the façade, was criticised as an offence to common decency.

He never managed to finish his last work, the famous Fountain of the Four Parts of the Earth, on the Place Camille Jullian. He did finish the terrestrial globe, supported by the four figures of Asia, Europe, America and Africa, and it was Emmanuel Frémiet who completed the work by adding the eight leaping horses, the tortoises and the dolphins of the basin.

Sculptures by Carpeaux

Neapolitan Fisherboy

Carpeaux submitted a plaster version of Pêcheur napolitain à la coquille, the Neapolitan Fisherboy, to the French Academy while a student in Rome. He carved the marble version several years later, showing it in the Salon exhibition of 1863. It was purchased for Napoleon III's empress, Eugènie. The statue of the young smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble and bronze. There is a copy, for instance, in the Samuel H. Kress Collection in the National Gallery of Art in Washington D.C.

Some years later, he carved the Girl with a Shell, a very similar study.

Carpeaux sought real life subjects in the streets and broke with the classical tradition. The Neapolitan Fisherboy's body is carved in intimate detail and shows an intricately balanced pose. Carpeaux claimed that he based the Neapolitan Fisherboy on a boy he had seen during a trip to Naples.

External links

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