Jules-Félix Coutan (22 September 1848 – 23 February 1939) was a French sculptor and educator.
French sculptor and educator (1848–1939)
Jules Coutan
Coutan in 1923
Born
22 September 1848
Paris
Died
23 February 1939(1939-02-23) (aged90)
Paris
Nationality
French
Knownfor
sculpture
Awards
Prix de Rome
The Eagle Hunters for the facade of the Museum of Natural History, ParisGlory of Commerce, Grand Central Terminal, 1911-14 (depicting Hercules, Mercury, and Minerva)Jose C. Paz tomb, La Recoleta Cemetery, Buenos Aires, Argentina
Life
As a student at the École des Beaux-Arts, Coutan was awarded the Prix de Rome in 1872; after his return to Paris he executed the fountain group France Bearing the Torch of Civilization for the Exposition Universelle (1889), one of the two prominent sculptural commissions for the exposition grounds.[1] Later he taught at the École des Beaux-Arts from 1900, where he expressed his disdain for the researches of Rodin (as fumiste[2]) and the Impressionist sculptors who followed him. He was elected to the Académie des Beaux-Arts in 1905.[3]
Coutan is best known in the United States for the sculptural group above the entrance to Grand Central Terminal in New York City. For Grand Central Terminal, Coutan was contracted to provide a quarter-size scale plaster model of the three-figure allegorical Transportation group, which he developed from 1911 through 1914. (Coutan never visited the U.S.) The carving was performed by the William Bradley & Son of Long Island City.[4]
The small bronzes, some stamped by the founders Thiebaut Frères, that represented a constant source of income for Coutan and a genre typical of his output, appear with some frequency on the art market.[5]
fountain group France Bearing the Torch of Civilization for the Exposition Universelle (1889)
caryatids for the Opéra-Comique, Paris, 1899
reliefs Science and Labor for the Pont de Passy (now the Pont de Bir-Hakeim), Paris
bas-reliefs for the polychrome terra-cotta facade in the Square Félix-Desruelles, with architect Charles Risler, for Sèvres Porcelain,[6] circa 1900
figure of La France de la Renaissance for the Pont Alexandre III, circa 1900
high relief, The Eagle Hunters for the facade of the Muséum national d'histoire naturelle in Paris; also the plaster model at the Musée d'Orsay (1893–1900);[7] bronze cast (1900), installed
Glory of Commerce group for Grand Central Terminal, NYC, 1914
the bust of Georges-Eugène Haussmann at the Père Lachaise Cemetery
Franco-Prussian War Memorial, Poitiers
angel figures for the José C. Paz tomb, La Recoleta Cemetery, Buenos Aires, Argentina
References
On the theme of a linear progress of humanity displayed at the Exposition, Pascal Ory remarks, "ce n'est évidemment pas un hasard si les deux principales commandes de l'Expo en matière de statuaire ont été consacrées respectivement à une 'Fontaine du progrès' (Coutan) et à un groupe intitulé officiellement 'La Nuit essayant d'arrêter le génie de la Lumière qui s'efforce d'éclairer la Verité'." (P. Ory, L'Expo universelle, 1889, 1989:20f).
Claire Maingon, "Les effets de la Grande Guerre sur la carrière d'un jeune sculpteur", Emulations, 2007; French fumiste signifies one who is not serious.
K. S.-D.: "Coutan, Jules Félix (Jules)", in: Allgemeines Künstlerlexikon, vol 22, p. 21
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