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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore

Recumbent Bacchante

Jean-Baptiste Clesinger, known as Auguste
Clesinger
Besançon, 1814 – Paris, 1883
1848
Marble
56 x 200 x 82 cm

At the Salon of 1847, Woman stung by a snake (Musée d’Orsay) by the young Clésinger caused an outrage.
The critics attacked the work both on moral and technical grounds. The indecency of the subject – a naked woman contorting on a bed of roses, a snaked wrapped around her wrist – is in fact enhanced by the exaggeratedly realistic treatment of the flesh, allegedly inspired by a life-size cast of the generous contours of Apollinie Sabatier, a famous demi-mondaine friend of the Romantic artists.
To give the lie to this accusation, by late 1847 Clésinger had sculpted this Recumbent Bacchante, a slightly larger than life-size version of the Woman bitten by a snake. The work, which was exhibited at the Salon of 1848, drew the following comment from Théophile Gautier, the novelist and art critic close to Mme Sabatier: “it is a pure orgiastic frenzy, the wild-haired Maenad is winding herself around the feet of Bacchus, the father of freedom and joy […] A powerful spasm of happiness causes the young woman’s ample bosom to swell, giving prominence to gleaming breasts...” He rounded off his article by calling it “one of the most beautiful pieces of modern sculpture”.
The term “modern” may seem surprising to us today; it no doubt describes the sculptor’s realistic approach and the exaggeration of the twisting movement characteristic of Romanticism.
The Bacchante was awarded a First Class medal and earned the sculptor the title of Chevalier de la Légion d’honneur, although the critics were not unanimous in their praise.
When it was exhibited at the Universal Exhibition in 1851, the English jury denounced his imagination as “perverse and placed at the service of the basest form of sensuality”.

Marks Inscriptions Hall-marks: 
Signed and dated “A.J. Clesinger 1848”
Donor, testator or seller: 
Donated by Georges Heine and his sister, the princess of Monaco, in 1922
Inventory number: 
PPS01345
Inventory number : PPS01345
Room 4. Courbet and Realism
The 19th century
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