Dance and Jean-Baptiste Carpeaux: Difference between pages

From Wikipedia, the free encyclopedia
(Difference between pages)
Content deleted Content added
VisualWikitext
 
image added
 
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]]
{{otheruses}}
[[Image:Jean-Baptiste_Carpeaux_La_Danse.jpg|thumb|right|400px|La Danse (The Dance), Opera Garnier in Paris]]
{{globalize}}
{{Commonscat}}
{{portalpar|Dance|Ballerina-icon.png}}
'''Dance''' (from [[French language|French]] ''danser'', perhaps from [[Old Frankish language|Frankish]]) generally refers to [[Motion (physics)|movement]] used as a form of [[expression]], [[social]] [[social interaction|interaction]] or presented in a [[spirituality|spiritual]] or [[performance]] setting.


'''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.
[[Image:morris.dancing.at.wells.arp.jpg|thumb|right|250px|[[Morris dance|Morris dancing]] in the grounds of Wells Cathedral, Wells, England]]


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.
'''Dance''' is also used to describe methods of [[non-verbal communication]] (see [[body language]]) between humans or [[animal]]s ([[Bee learning and communication#Dance language|bee dance]], [[Fixed action pattern|patterns of behaviour]] such as a mating dance), [[Motion (physics)|motion]] in inanimate objects (''the [[leaves]] danced in the [[wind]]''), and certain [[dance (musical form)|musical form]]s or [[music|genre]]s.


== Sculptures by Carpeaux ==
Definitions of what constitutes dance are dependent on [[Society|social]], [[Culture|cultural]], [[aesthetic]], [[artistic]] and [[moral]] constraints and range from functional movement (such as [[Folk dance]]) to [[virtuoso]] techniques such as [[ballet]]. In [[sport]]s, [[gymnastics]], [[figure skating]] and [[synchronized swimming]] are ''dance'' disciplines while [[Martial arts]] '[[Kata (martial arts)|kata]]' are often compared to dances.


* 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]]
Dance can be directly [[Participation dance|participatory]], [[social dance|social]] or [[Concert dance|performed]] for an [[audience]]. It can also be [[Ceremonial dance|ceremonial]], [[Competitive dance|competitive]] or [[Erotic dance|erotic]]. Dance movements may be without significance in themselves, such as in [[ballet]] or European [[folk dance]], or have a [[gesture|gestural]] [[vocabulary]]/symbolic system as in many Asian dances. Dance can embody or [[expression|express]] ideas, [[emotion]]s or tell a story.
* 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==
[[Choreography]] is the art of creating dances, and the person who does this is called a choreographer.


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.]]
==Origins and history of dance==
{{main|History of dance}}
Dance does not leave behind clearly identifiable physical artifacts such as stone tools, hunting implements or [[cave painting]]. It is not possible to say when dance became part of human culture. Dance has certainly been an important part of [[ceremony]], [[ritual]]s, [[celebration (party)|celebration]]s and [[entertainment]] since before the birth of the earliest human [[civilization]]s. [[Archeology]] delivers traces of dance from [[prehistory|prehistoric times]] such as [[ancient Egypt|Egyptian]] tomb paintings depicting dancing figures from circa [[3300 BC]] and the [[Rock Shelters of Bhimbetka]] paintings in [[India]].


Some years later, he carved the Girl with a Shell, a very similar study.
One of the earliest structured uses of dance may have been in the performance and telling of myths. Before the introduction of written languages, dance was one of the methods of passing these stories down from generation to generation. <ref name="lecomte">Nathalie Comte. "Europe, 1450 to 1789: Encyclopedia of the Early Modern World". Ed. Jonathan Dewald. Vol. 2. New York: Charles Scribner's Sons, 2004. p94-108.</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]].
Another early use of dance may have been as a precursor to [[ecstasy|ecstatic]] [[altered state of consciousness|trance states]] in healing rituals. Dance is still used for this purpose by cultures from the Brazilian [[rainforest]] to the [[Kalahari Desert]].<ref name='guenther'>Guenther, Mathias Georg. 'The San Trance Dance: Ritual and Revitalization Among the Farm Bushmen of the Ghanzi District, Republic of Botswana.' Journal, South West Africa Scientific Society, v30, 1975-76.</ref>

[[Sri Lankan dances]] goes back to the mythological times of [[Indigenous peoples|aboriginal]] yingyang twins and "[[yakkas]]" (devils). According to a Sinhalese legend, Kandyan dances originate, 2500 years ago, from a magic ritual that broke the spell on a bewitched king. Many contemporary dance forms can be traced back to [[Historical dance|historical]], [[Traditional dance|traditional]], [[Ceremonial dance|ceremonial]], and [[List of dances sorted by ethnicity|ethnic]] dances.

==Dancing and music==
{{seealso|List of dances|:Category:Music genres}}

Many early forms of music and dance were created and performed together. This paired development has continued through the ages with dance/music forms such as: [[Jig]], [[Waltz]], [[Tango music|Tango]], [[Disco]], [[Salsa (dance)|Salsa]], [[Electronica]] and [[Hip hop music|Hip-Hop]]. Some [[musical genre]]s also have a parallel dance form such as [[Baroque music]] and [[Baroque dance]] whereas others developed separately: [[Classical music era|Classical music]], [[Classical ballet]].

Although dance is often accompanied by [[music]], it can also be presented independently or provide its own accompaniment ([[tap dance]]). Dance presented with music may or may not be performed ''in time'' to the music depending on the style of dance. Dance performed without music is said to be ''danced to its own rhythm''.

==Dance by ethnicity or region==
{{Main|:Category:Dance by ethnicity or region}}

===Dance in South Asia===
====India====
{{Main|Dance in India}}
=====Dance in Indian canonical literature=====
In the first millennium BCE in [[India]] many texts were composed which sought to state the rules of social management, private life, linguistic discipline, public finance, state policy, poetics, and dramatics. In the matter of dance, [[Bharata Muni]]'s ''[[Natyashastra]]'' (literally ''"the art of dance"'') is the one of the earlier texts.

Though the main theme of ''[[Natyashastra]]'' deals with drama, dance also finds mention. It elaborates various gestures of hands and classifies such gestures and movements as either graceful or vigorous, defining the ''lalita'' form of dance - ''lasya''; and the vigorous form '[[tandava]]'.

Dance is classified under four categories and into four regional varieties. ''[[Natyashastra]]'' names these categories as secular, ritual, abstract, and, interpretive. Regional geography has altered since [[ancient India]]'s time and so have regional varieties of Indian dances. Dances like ''"Odra Magadhi"'', which after decades long debate, has been traced to present day Mithila-[[Orissa]] region's dance form of [[Odissi]], indicate influence of dances in cultural interactions between different regions.<ref>[http://www.exoticindiaart.com/article/dance Dance: The Living Spirit of Indian Arts], by Prof. P. C. Jain and Dr. Daljeet.</ref>

The roots of the present day [[Kathak]], [[Bharatanatyam]], [[Odissi]], [[Mohini Attam]] and [[Kuchipudi]] are found in ancient Indian civilization. Abstractness is now the feature of almost all classical Indian dance forms.

=====Classical Indian dance since 1947=====
During the reign of the last Mughals and Nawabs of Oudh dance fell down to the status of '[[nautch]]', a sensuous dance of courtesans.

Later, linking dance with immoral trafficking and prostitution, British rule prohibited public performance of dance. Many disapproved it. In 1947, India won her freedom and for dance an ambience where it could regain its past glory. Classical forms and regional distinctions were re-discovered, ethnic specialties were honored.

Archaeology delivers traces of dance from prehistoric times such as Egyptian tomb paintings depicting dancing figures from circa 3300 BC and the Bhimbetka rock-shelter paintings in India.

====Bhangra in the Punjab====
{{Main|Bhangra}}
The [[Punjab region|Punjab]] area overlapping India and [[Pakistan]] is the place of origin of [[Bhangra]]. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest fall celebrations, love, patriotism or current social issues. Its music is coordinated by a musical instrument called the 'Dhol'. Its beats is what gives the human body the vibes in the dance movements.
Bhangra isn't just music but a dance. It's actually the celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and dance!

====Dances of Sri Lanka====
{{Main|Dances of Sri Lanka}}
The devil dances of Sri Lank] or "yakun natima" are a carefully crafted ritual with a history reaching far back into [[Sri Lanka]]'s pre-Buddhist past. It combines ancient "Ayurvedic" concepts of disease causation with psychological manipulation. The dance combines many aspects including Sinhalese cosmolgy, the dances also has an impact on the [[classical dances of Sri Lanka]].<ref>[http://www.lankalibrary.com/rit/yakun%20natuma.htm "The yakun natima - devil dance ritual of Sri Lanka" at WWW Virtual Library - Sri Lanka]</ref>

===In Europe and North America===
====Concert (or performance) dance====
{{Main|Concert dance}}
[[Ballet]] developed first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. Members of the court nobility took part as performers. During the reign of [[Louis XIV]], himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well.<ref name="lecomte"/>

During the [[18th century]], ballets were still mainly performed alongside [[opera]] or poetry, but the idea of dance performance as separate from sung or spoken word began to be experimented with. [[Mime]], instead, was used to tell the stories of these ballets. Female professional dancers began to take their place onstage, having previously been hampered by social norms; they performed in high-heeled shoes and long, full skirts. Later they wore short, stiff, yet fluffy, skirts called tutus.

During the Pre-Romantic era in ballet, the art form changed rapidly. Costume reforms were made, especially for women; these reforms were in part a result of the [[French Revolution]]. Heeled street shoes were replaced by slippers, and corsets and heavy petticoats were discarded, and tights were invented. Simple [[pointe|en pointe]] work was introduced by ballerinas such as Fanny Elssler and [[Marie Taglioni]], who heavily darned their slippers in order to be able to rise up briefly on their toes. The seven movements of dance (to bend, to rise, to stretch, to glide, to jump, to turn, and to dart) were codified in 1796.

The period of time between 1830 and 1870 is classified as the [[Romanticism|Romantic]] era of ballet. A format developed for ballets crafted in this period: the first act was set in the real world and the second in a [[supernatural]] or otherworldly setting. Most ballerinas portrayed creatures such as wilis, sylphs and nymphs wearing long white skirts, today called Romantic tutus. Ballets choreographed during this time period included [[Giselle]] in 1841, [[La Sylphide]] in 1832, and [[Coppelia]] in 1870. The Romantic Era came to a close when ballet lost popularity in Western [[Europe]] due to competition by music halls and a lack of strong male dancers and choreography.

[[St. Petersburg]] became the center of ballet during the second half of the 19th century; the art form was supported by the patronage of the czars and the success of the [[Imperial Ballet]], its school (forerunner of the [[Kirov Ballet]]) and the talent of [[Marius Petipa]]. Hard or blocked pointe shoes were introduced during this period, as were short tutus (today known as classical tutus, these skirts take their name from this era, which was the Russian Classical). Many story ballets ([[The Nutcracker]], [[Don Quixote]], [[Swan Lake]], [[The Sleeping Beauty]], [[Le Corsaire]]) were produced during this period. Although the coming of the [[Russian Revolution of 1917|Russian Revolution]] boded ill for the art form, Nicholas Sergeyev, last régisseur of the Imperial Ballet, smuggled the [[Sergeyev Collection|choreographic notation documenting the Imperial Ballet's repertory]] out of Russia and into the West. Hence many of the ballets survived, and are still performed today.

The Russian impresario [[Serge Diaghilev]] was instrumental in bringing ballet back to Western Europe and allowing for its evolution into a 20th century art form. Although not a dancer nor a choreographer, Diaghilev was an avid dance and music patron. He assembled a troupe of Russian composers, dancers, choreographers and designers; as the Diaghilev Ballet Russes, this troupe toured Europe and the United States. Diaghilev was one of the foremost influences upon ballet in the new century, and he helped to launch the careers of such artists as [[Anna Pavlova]], [[Michel Fokine]], [[Vaslav Nijinsky]], and [[George Balanchine]], among others. After Diaghilev's death, the company disbanded. Many of his dancers settled in Western Europe and the United States. Michel Fokine joined [[American Ballet Theatre]] in 1940 as its resident choreographer; George Balanchine also came to America and founded the [[New York City Ballet]] in 1934. It was Balanchine who developed what is now known as the "neo-classical" style of ballet.

At the beginning of the [[20th century]], there was an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as [[modern dance]] include [[Loie Fuller]], [[Isadora Duncan]], [[Mary Wigman]] and [[Ruth St. Denis]]. The relationship of music to dance serves as the basis for [[Eurhythmics]], devised by [[Emile Jaques-Dalcroze]], which was influential to the development of Modern dance and modern ballet through artists such as [[Marie Rambert]].

[[Eurythmy]], developed by [[Rudolf Steiner]] and [[Lori Maier-Smits]], combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the [[1920s]], important founders of the new style such as [[Martha Graham]] and [[Doris Humphrey]] began their work. Since this time, a wide variety of dance styles have been developed; see [[Modern dance]].

[[Image:Breakdance-oldschool.png|thumb|right|200px|Cartoon of a breakdancer displaying a basic [[Freeze (breakdance move)|freeze]], complete with stereotypical [[boombox]].]]

====The United States====
{{see also|Dance in the United States|African American dance}}
[[African American dance]]s are those dances which have developed within African American communities in everyday spaces, rather than in dance studios, schools or companies and its derivatives, [[Tap dance]], [[Disco]], [[Jazz dance]], [[Swing dance]], [[hip hop dance]] and [[breakdance]]. Other dances, such as the [[lindy hop]] with its relationship to [[rock and roll|rock and roll music]] and [[rock and roll (dance)|rock and roll dance ]] have also had a global influence.

<DIV style="clear: both" />

==Competitive dance (DanceSport)==
{{Main|Dancesport}}
[[Image:MIT 2006 Standard Prechamp Final 2.jpg|thumb|left|250px|An amateur dancesport competition at [[Massachusetts Institute of Technology|MIT]].]]
'''DanceSport''' denotes dance as a [[sport]] activity. Initially this term was applied to [[competitive dance|competitive]] [[ballroom dance|ballroom dancing]], in its [[Glossary of partner dance terms#International Style|International Style]].

The [[International DanceSport Federation]], or IDSF, is an international governing body for amateurs, while the [[World Dance & DanceSport Council]] (WD&DSC) is an international governing body for dance professionals. Since [[1997]] the [[International Olympic Committee]] (IOC) has officially recognized dancesport as sport<ref>http://www.idsf.net/press97/idsfp172.htm</ref>, with IDSF becoming an [[IOC Recognized International Sports Federation]]. The IDSF strongly pushes for the inclusion of dancesport as a medal sport in the [[Olympic Games]]. However the decision of the IOC is negative so far<ref>http://www.idsf.net/press00/idsf0026.htm</ref>. It is in force only until the 2012 Olympics and subject to reconsideration afterwards.



The TV programs [[Dancing with the Stars]] and [[So You Think You Can Dance (US)|So You Think You Can Dance]] are both popularising DanceSport internationally. The two shows are about contestants competing to win dance competitions, much like how singing is used on [[American Idol]].

==Dance studies==
In the early [[1920s]] dance studies (dance [[practice]], [[critical theory]], [[Musical analysis]] and [[history]]) began to be considered an [[academic discipline]]. Today these studies are an integral part of many [[universities]]' [[The Arts|arts]] and [[humanities]] programs. By the late [[20th century]] the recognition of practical [[knowledge]] as equal to academic knowledge lead to the emergence of ''practice-based research'' and ''practice as research''. A large range of dance courses are available including:

* Professional practice: performance and technical skills
* Practice-based research: choreography and performance
* [[Ethnochoreology]], encompassing the dance-related aspects of [[Anthropology]], [[Cultural Studies]], [[Gender Studies]], [[Area studies]], [[Postcolonial theory]], [[Ethnography]], etc.
* [[Dance therapy]] or Dance-Movement Therapy.
* Dance and technology: [[new media]] and performance [[technologies]].
* [[Laban Movement Analysis]] and Somatic studies

A full range of [[Academic degree]]s are available from [[Bachelor of Arts|BA (Hons)]] to [[Doctor of Philosophy|PhD]] and other [[postdoctoral]] fellowships, with many dance [[scholar]]s taking up their studies as ''mature students'' after a [[professional]] dance career.

Dancing is evolved in so many different styles. Breakdancing and Crumping which is related to the hip hop culture. African dance which is interperative. Ballet, Ballroom, Waltz, and Tango are classical styles of dance. While square and the infamous electric slide are forms of step dances.

==Dance occupations==
There are different careers connected with dancing: Dancer, dance teacher, dance sport coach, [[dance therapy|dance therapist]] and choreographer.

;Dancer
The training as the dancer differs depending upon the dance form with nationally recognized university studies for classical dance (e.g. Ballet) compared to the more sports like training in competition dance (e.g. Latin dance) and private training as the solo dancer (e.g. eastern dance).

Dancers are usually employed on contract or for a particular performance. Constantly changing work situations, strong competition pressure and only rarely high fees do not deter dancers. Professional dancers often need to supplement their income, either in dance related roles (e.g., dance teaching, dance sport coaches, yoga or [[Pilates]] instruction) to achieve financial stability.

In the U.S. many professional dancers are members of unions such as the [[American Guild of Musical Artists]], the [[Screen Actors Guild]] and [[Actors' Equity Association]]. The unions help determine working conditions and minimum salaries for their members.

{{see also|Risks of classical ballet}}

;Dance teachers
Dance teacher and operators of [[dance school]]s rely on reputation and marketing. For dance forms without an association structure such as Salsa or Tango Argentino they may not have formal training. Most dance teachers are self employed.

;Dancesport coaches
Dancesport coaches are tournament dancers or former dancesports people, and may be recognised by a dance sport federation.

;Choreographer
Choreographer are generally university trained and are typically employed for particular projects or, more rarely may work for a specific company. A choreographic work is protected intellectual property. Dancers may undertake their own choreography.

==See also==
*[[Dance in Australia]]
*[[Dance in Canada]]
*[[Dance in the United States]]
*[[Backup dancer]]

=== Lists ===
*[[List of basic dance topics]]
*[[List of dance style categories]]
*[[List of dance topics]]
*[[List of dance wikibooks]]
*[[List of songs inspired by dance moves]]
*[[List of choreographers]]

=== Related topics ===
* ''[[An American Ballroom Companion]]''
* [[Ballroom dance]]
* [[Dance theory]]
* [[African American dance]]
* [[Wikipedia:WikiProject Dance]]

== Further reading ==
* Adshead-Lansdale, J. (Ed) (1994) ''Dance History: An Introduction''. Routledge. ISBN 0-415-09030-X
* Carter, A. (1998) ''The Routledge Dance Studies Reader''. Routledge. ISBN 0-415-16447-8
* Cohen, S, J. (1992) ''Dance As a Theatre Art: Source Readings in Dance History from 1581 to the Present''. Princeton Book Co. ISBN 0-87127-173-7
* Charman, S. Kraus, R, G. Chapman, S. and Dixon-Stowall, B. (1990) ''History of the Dance in Art and Education''. Pearson Education. ISBN 0-13-389362-6
* Daly, A. (2002) ''Critical Gestures: Writings on Dance and Culture''. Wesleyan University Press. ISBN 0-8195-6566-0
* Dils, A. (2001) ''Moving History/Dancing Cultures: A Dance History Reader''. Wesleyan University Press. ISBN 0-8195-6413-3

==References==
<references/>


==External links==
==External links==
<!-- links added here should only relate to dance in general rather than specific dances or styles -->
{{Sisterlinks}}


*[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)]
*[http://www.gutenberg.org/etext/17289 Historic Illustrations of Dancing from 3300 B.C. to 1911 A.D.] from [[Project Gutenberg]]
*[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.dancemuseum.org/ United States National Museum of Dance and Hall of Fame]
*[http://www.studiolo.org/MMA-Ugolino/Ugolino.htm A page analysing Carpeaux's ''Ugolino'', with numerous illustrations]


[[Category:Dance| ]]
[[Category:French sculptors|Carpeaux, Jean-Baptiste]]
[[Category:Entertainment occupations]]
[[Category:1827 births|Carpeaux, Jean-Baptiste]]
[[Category:Culture]]
[[Category:1875 deaths|Carpeaux, Jean-Baptiste]]


[[de:Jean-Baptiste Carpeaux]]
[[ar:رقص]]
[[fr:Jean-Baptiste Carpeaux]]
[[an:Danza]]
[[nl:Jean-Baptiste Carpeaux]]
[[ast:Danza]]
[[pl:Jean-Baptiste Carpeaux]]
[[bm:Dɔnke]]
[[pt:Jean-Baptiste Carpeaux]]
[[bn:নৃত্য]]
[[zh:让-巴蒂斯·卡尔波]]
[[br:Dañs]]
[[bg:Танц]]
[[ca:Dansa]]
[[ceb:Sayaw]]
[[cs:Tanec]]
[[co:Baddu]]
[[cy:Dawns]]
[[da:Dans]]
[[de:Tanz]]
[[et:Tants]]
[[el:Χορός]]
[[es:Danza]]
[[eo:Danco]]
[[fa:رقص]]
[[fr:Danse]]
[[fy:Dûns]]
[[fur:Bal]]
[[ga:Damhsa]]
[[gl:Danza]]
[[hi:नृत्य]]
[[hr:Ples]]
[[ia:Dansa]]
[[it:Danza]]
[[he:ריקוד]]
[[ka:ცეკვა]]
[[la:Saltatio]]
[[lb:Danzen]]
[[li:Dans]]
[[jbo:dansu]]
[[hu:Tánc]]
[[mr:नृत्य]]
[[ms:Tarian]]
[[mo:Dans]]
[[nah:Mācēhualiztli]]
[[nl:Dans]]
[[nds-nl:Daans]]
[[ja:ダンス]]
[[nap:Ballo]]
[[no:Dans]]
[[nn:Dans]]
[[nrm:Dans'sie]]
[[ps:ګډا، نڅا]]
[[nds:Danz]]
[[pl:Taniec]]
[[pt:Dança]]
[[ro:Dans]]
[[qu:Tusuy]]
[[ru:Танец]]
[[scn:Ballu]]
[[sco:Dance]]
[[simple:Dance]]
[[sk:Tanec]]
[[sl:Ples]]
[[sr:Плес]]
[[fi:Tanssi]]
[[sv:Dans]]
[[tl:Sayaw]]
[[ta:நடனம்]]
[[th:การเต้นรำ]]
[[tr:Dans]]
[[yi:טאנץ]]
[[zh:舞蹈]]

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

Retrieved from "https://en.wikipedia.org/w/index.php?title=Dance&oldid=139104583"