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Opphavsrett Dette verket er i det frie domene. Aimé-Jules Dalou døde i 1902; opphavsretten varer 70 år etter kunstnerens død, så den utløp i 1972.
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The Day Is Over — Aimé-Jules Dalou
Rad over: årene. Rad under: kunstnerens alder ved starten og slutten av hvert tidsrom — 0 ved fødsel, 64 ved død.
Skyggelagt: livsløpet til Aimé-Jules Dalou (1838–1902) hvert daterte maleri, tiår for tiår
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Sammen utgjør disse verkene 100.0% av all oppmerksomheten som denne kunstnerens malerier har mottatt i løpet av de siste tolv månedene. Katalogen inneholder 13 verk av denne kunstneren, hvorav 2 ble sett på minst én gang. Dette maleriet har ennå ikke blitt vist i denne perioden — det avslutter listen uten en rangering. Det samme gjelder, måned for måned
Søylene måler oppmerksomhet, ikke kvalitet. Velg verket øverst og dette: nevn én ting som kan gjøre et maleri berømt utover hvor godt det er malt.
Kunstner og museum
Født i Paris, France
Aimé-Jules Dalou, a name resonant with the spirit of 19th-century French sculpture, was more than just an artist; he was a chronicler of his time, a sensitive observer of humanity, and a passionate advocate for republican ideals. Born in Paris in 1838 to a working-class Huguenot family, Dalou’s upbringing instilled within him a deep sense of social justice and secularity – values that would profoundly shape both his life and artistic output. This foundation fostered an empathy for the common person, a theme consistently woven throughout his oeuvre. His early training at the Petite École, followed by studies at the prestigious École des Beaux-Arts under Abel de Pujol and François-Joseph Duret, provided him with a solid academic grounding. However, it was the mentorship of Jean-Baptiste Carpeaux that truly ignited his artistic spark, imbuing his work with vitality and technical brilliance. Dalou absorbed Carpeaux’s dynamism while simultaneously cultivating a scholarly approach to sculpture, demonstrating an impressive command of form and composition.
Dalou's early career unfolded against the backdrop of a politically turbulent France. His work began attracting attention at the Paris Salon in 1861, establishing his reputation as a rising talent. Yet, his outspoken republican sympathies would soon lead to hardship. The tumultuous events of the Paris Commune in 1871 forced Dalou into exile in England, a consequence of his perceived involvement with the revolutionary government. This period, though born of adversity, proved remarkably fruitful for the artist. He found employment teaching at the South London Technical Art School and the South Kensington School of Art, contributing significantly to the development of British sculpture by introducing a more humanist and naturalist approach. In England, Dalou’s style evolved, manifesting in a series of exquisite terracotta statuettes and intimate portrait busts. Works like A French Peasant Woman and Child and Woman of Boulogne Telling Her Beads reveal his growing mastery of capturing the nuances of everyday life with poignant realism. He also received important commissions, including the fountain called Charity for the Royal Exchange in London (1878) and monuments for Queen Victoria’s granddaughters at Windsor Castle, demonstrating his versatility and skill on a grand scale.
The declaration of an amnesty in 1879 allowed Dalou to return to France, where he was greeted with renewed enthusiasm. This marked the beginning of his most prolific and celebrated period. He quickly secured major commissions, creating works that would solidify his place as one of France’s leading sculptors. The relief of Mirabeau replying to Dreux-Brezé (1883) showcased his ability to capture dramatic historical moments with compelling energy, while the decorative panel Fraternity (1885) embodied his commitment to republican ideals. However, it was the monumental “Triumph of the Republic” at Place de la Nation in Paris – erected in 1899 after years of dedicated work – that stands as Dalou’s most ambitious and enduring achievement. This sprawling allegorical composition, a vibrant celebration of French republican values, became an iconic symbol of national identity. Other significant monuments followed, including the Alphand Monument (1899) and the Hoche Monument in Quiberon (1902), further cementing his legacy as a master of public sculpture.
Aimé-Jules Dalou’s impact on 19th-century French art is undeniable. He was lauded for his exceptional technical skill, perceptive realism, and ability to seamlessly blend grand allegorical themes with intimate portrayals of ordinary life. His work resonated with a growing desire for social commentary and artistic innovation, bridging the gap between academic traditions and emerging realist tendencies. The accolades he received – including the Grand Prix at the Exposition Universelle (1889) and his appointment as a Commander of the Legion of Honor – were testaments to his artistic prowess and national recognition. As one of the founding members of the Société Nationale des Beaux-Arts, and its first president of the sculpture section, Dalou played a pivotal role in shaping the direction of French art at the turn of the century. His influence extended beyond his immediate circle, inspiring generations of sculptors to embrace both technical mastery and social consciousness in their work. Today, Dalou’s sculptures continue to captivate audiences with their emotional depth, artistic brilliance, and enduring relevance, ensuring his place as a pivotal figure in the history of French sculpture.
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The Day Is Over — Aimé-Jules Dalou
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"The Day Is Over" kan undersøkes lag for lag på verkets Røntgen-side, en visning inspirert av en konservators lysbord med elleve optiske avlesninger av bildet.
"The Day Is Over" tilskrives Aimé-Jules Dalou.