Autograph Records and Jean-Baptiste Carpeaux: Difference between pages

Content deleted Content added

Inline

Revision as of 01:07, 19 June 2007

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

Ugolin et ses fils - Ugolino and his Sons (1861, in the permanent collection of the Metropolitan Museum of Art)[[1]] with versions in other museums including the Musée d'Orsay
The Dance (commissioned for the Opera Garnier)
Jeune pêcheur à la coquille - Neapolitan Fisherboy - in the Louvre, Paris [[2]]
Girl with Shell
Antoine Watteau monument, Valenciennes

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

A page on the official Louvre site giving access to some of Carpeaux's works (French language only)
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)
A page analysing Carpeaux's Ugolino, with numerous illustrations

@@ Line 1: / Line 1: @@
+[[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]]
-'''Autograph Records''' was a [[United States]] [[record label]] of the [[1920s]].
+[[Image:Jean-Baptiste_Carpeaux_La_Danse.jpg|thumb|right|400px|La Danse (The Dance), Opera Garnier in Paris]]
+{{Commonscat}}
+'''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.
-Autograph was a small label, owned by Marsh Laboratories Incorporated of [[Chicago, Illinois]]. Marsh Laboratories in turn was owned by electrical engineer [[Orlando R. Marsh]].  Marsh made recordings by his own experimental methods, and therefore Autograph was the first record label to release recordings made electrically with [[microphone]]s, as opposed to the acoustical or mechanical method then still universally used.  According to Rust, Marsh's first electrical records were made in 1924, but it actually could have been earlier. (2)
+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.
-It was reported in [[Time Magazine]] on April 28, 1923 that a device invented by Orlando R. Marsh was successfully used to make a recording of organ music, hitherto considered impossible.  The article stated that [[Pietro A. Yon]] from New York City played his organ composition "Jesu Bambino" in Marsh's Chicago laboratory and that the reproduction was described as excellent. The article went on to say that this accomplishment appeared to open a new area for the phonograph.[http://www.time.com/time/magazine/article/0,9171,880630,00.html]
+== Sculptures by Carpeaux ==
-Brian Rust also reported that that there was a note in the ''Talking Machine Journal'' for October 1924 indicating that "Orlando B. Marsh" had just moved to 78 East Jackson Boulevard. (2)  Marsh Laboratories became established on the seventh floor of the [[Lyon & Healy]] Building.  This location attracted customers. In those days Lyon & Healy was a major music store selling sheet music, records, and musical instruments. (1)
+* 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]]
-Today Autograph is best known for some of the fine [[jazz]] by artists in Chicago which was recorded on the label. The most famous of all are the duets by [[Joe "King" Oliver|King Oliver]] and [[Jelly Roll Morton]].  Autograph's best selling records, however, were the series of pipe-organ solos by [[Jesse Crawford]].  Marsh's electrical process was the first to be able to capture an approximation of the range of the organ but it lacked bass in the tone mix. (1)[http://www.theatreorgans.com/southerncross/Radiogram/USAfiles.htm]
+* 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==
-About the time that the Autograph records of Crawford were made, Jesse Crawford accepted an offer to be organist at the [[Paramount Theater (New York City)]].  Once there, [[Victor Talking Machine Company]] became interested in having Crawford make recordings for them, first by the acoustical process.  Later, Victor recorded Crawford by the [[Western Electric]] licensed process first used by them in 1925. (1)
+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.]]
-[[Milton Charles]] succeeded Jesse Crawford as organist at the [[Chicago Theatre]] and also as the organist used by Orlando Marsh.  Charles was recorded by Marsh Laboratories at the [[Tivoli Theatre (Chicago)]] with releases on the [[Paramount]] label.  The Paramount recordings were technically superior to those made at the Chicago Theatre. (1)
+Some years later, he carved the Girl with a Shell, a very similar study.
-The last Autograph records seem to have been recorded in [[1926 in music|1926]].
+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]].
-Although no longer releasing sides under his own label, Orlando Marsh continued to make recordings in Chicago for other labels (including [[Paramount Records|Paramount]], [[Gennett Records|Gennett]], and [[Black Patti Records|Black Patti]]) through the end of the 1920s.
+==External links==
-[[Amos 'n' Andy]] was the very first radio program to be distributed by recorded syndication and Marsh Laboratories played a role in this.  Elizabeth McLeod indicated in an e-mail of December 27, 2002 that recordings by [[Freeman Gosden]] and [[Charles Correll]] were made in advance of the live airing of the Amos 'n' Andy radio shows on [[WMAQ (AM)]], Chicago, in the 1928 – 1929 period at Marsh Laboratories.  These were pressed for distribution to other radio stations as 12” shellac 78 rpm discs.  She indicated that a speed around 80 rpm was sometimes more accurate.  On April 29, 1929, the recording contract went to Brunswick-Balke-Collender ([[Brunswick Corporation]]) and the audio quality of the discs improved substantially. (3)
+*[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)]
-'''Citations'''
+*[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)
-: (1) Powell, James R., Jr., Randall G. Stehle, and Jonathan D. Powell.  Vintage microphones and the restoration of early Marsh Laboratories electrical 78-rpm recordings.  ''ARSC Journal'' 2006; 37 (1): 36-47.
+*[http://www.studiolo.org/MMA-Ugolino/Ugolino.htm A page analysing Carpeaux's ''Ugolino'', with numerous illustrations]
-: (2) Rust, Brian.  Autograph, a glimpse into the past.  ''Storyville'' 1972; 40: 124-126.
-: (3) McLeod, Elizabeth.  A & A Recordings; email to old.time.radio@oldradio.net; December 27, 2002.
+[[Category:French sculptors|Carpeaux, Jean-Baptiste]]
-== See also ==
+[[Category:1827 births|Carpeaux, Jean-Baptiste]]
-* [[List of record labels]]
-[[Category:American record labels]]
+[[Category:1875 deaths|Carpeaux, Jean-Baptiste]]
-[[Category:Record labels established in 1921]]
+[[de:Jean-Baptiste Carpeaux]]
-[[Category:Record labels disestablished in 1926]]
+[[fr:Jean-Baptiste Carpeaux]]
-[[Category:Jazz record labels]]
+[[nl:Jean-Baptiste Carpeaux]]
+[[pl:Jean-Baptiste Carpeaux]]
+[[pt:Jean-Baptiste Carpeaux]]
+[[zh:让-巴蒂斯·卡尔波]]