Charles Cordier (), Chinois et Chinoise,
Charles Cordier est l’un des pionniers de la sculpture polychrome sous le Second Empire. Abyssiniens, Algériens, Anglais, Chinois, Égyptiens, Français, Grecs, Italiens, Matias, Nubiens, Soudanais, Turcs… il est le seul sculpteur à consacrer l’essentiel de son œuvre à la représentation de la diversité humaine.
Avec ces deux bustes réalisés pour le Salon de , Cordier joue sur une extraordinaire polychromie. Dans un mélange d’une très grande richesse, il mêle bronze, bronze doré, bronze argenté, émaux et peintures. La diversité des matériaux employés en fait un parfait exemple de la sculpture en couleurs au milieu du XIXe siècle. L’artiste s’orientera ensuite vers une autre forme de polychromie, par assemblage de marbres et d’onyx, qui fait encore sa réputation aujourd’hui.
L’acquisition de ces bustes vient compléter par des œuvres exceptionnelles la collection de sculptures de Cordier conservée au musée d’Orsay et feront l’objet d’une exposition dans les années à venir.
Biography
French sculptor. He trained at the Petite Ecole (Ecole Spéciale de Dessin et de Mathématiques) in Paris, then with François Rude. He exhibited for the first time at the Salon, showing a plaster bust of Said Abdallah of the Darfour Tribe in Sudan. This was exhibited in the same year that slavery was abolished in all French colonies. It is now housed at The Walters Art Museum.
> This work, inspired by the taste for the Orient that Eugène Delacroix had done so much to communicate to a whole generation of artists, achieved a precocious success for Cordier and was ordered by the French government in a bronze version. Cordier held the post of ethnographic sculptor to the Museum d'Histoire Naturelle in Paris for 15 years from , going on a number of government-sponsored missions - to Algeria in , Greece in and Egypt in
> His travels led him to envision a series of modern ethnic types intended to rival those of antiquity. In them Cordier was able to combine his academic training with a passion for exotic subjects and exotic, richly coloured materials and his work made an important contribution to the 19th-century revival of polychrome sculpture. Cordier was able to us
Head of a Woman
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Returned to lender The Met accepts temporary loans of art both for short-term exhibitions and for long-term display in its galleries.
Charles-Henri-Joseph CordierFrench
Not on view
Cordier cast this plaster mask after the original clay study for his bust of a woman (African Venus). By emphasizing the figure’s full lips, coiled hair, and dark skin tone, Cordier sought to create an idealized image of African beauty that would appeal to Western audiences who had grown increasingly interested in representations of Black people. Cordier believed his sculptures heralded a change in the understanding of non-Europeans, writing: "My genre had the freshness of something new, revolt against slavery, the budding science of anthropology, widening the circle of beauty by showing that it existed everywhere." Inexpensive reproductions of this mask were sold to artists working in Paris and beyond, reflecting the growing prominence of ethnography and exoticism as artistic subjects in the second half of the nineteenth century.
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Life of CHARLES-HENRI-JOSEPH CORDIER
French sculptor. He trained at the Petite Ecole (Ecole Spciale de Dessin et de Mathmatiques) in Paris, then with Franois Rude. He exhibited for the first time at the Salon, showing a plaster bust of Said Abdallah of the Darfour Tribe. This work, inspired by the taste for the Orient that Eug&#;ne Delacroix had done so much to communicate to a whole generation of artists, achieved a precocious success for Cordier and was ordered by the French government in a bronze version. Cordier held the post of ethnographic sculptor to the Museum d Histoire Naturelle in Paris for 15 years from , going on a number of government-sponsored missions - to Algeria in , Greece in and Egypt in
His travels led him to envision a series of modern ethnic types intended to rival those of antiquity. In them Cordier was able to combine his academic training with a passion for exotic subjects and exotic, richly coloured materials and his work made an important contribution to the 19th-century revival of polychrome sculpture. Cordier was able to use onyx from workings in Algeria reopened by the French colonists, and red and ochre-coloured mar
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