EPINAY, Prosper d' - b. 1836 Pamplemousses, Mauritius, d. 1914 Saint-Cyr-sur-Loire - WGA

EPINAY, Prosper d'

(b. 1836 Pamplemousses, Mauritius, d. 1914 Saint-Cyr-sur-Loire)

French sculptor. He was born a British subject and was the son of a prominent advocate in Mauritius. From 1857 to 1860 he studied caricature with the sculptor Jean-Pierre Dantan in Paris, and in 1861 he worked in the Rome studio of Luigi Amici (1813-1897). He was active in Rome and London between 1864 and 1874 but from the mid-1870s increasingly turned his attention from London to Paris.

He maintained a studio in Mauritius, producing statues of his father and of the late governor, Sir William Stevenson (bronze, 1865; Port Louis, Jardins de la Compagnie). In England his bust of Edward, Prince of Wales (bronze, 1912; Port Louis, Champ de Mars), executed from memory, was purchased by Queen Victoria, and from then until 1881 he exhibited at the Royal Academy, London. With the exhibition of the coquettish nude the Golden Girdle (1874; marble version, St Petersburg, Hermitage), reminiscent of the 18th century and the Fontainebleau School, Epinay won the attention of the Paris public. He shared with his equally well-connected contemporary, the sculptress Marcello, a tendency to period pastiche, especially in his female portrait busts, which imitate the emphatic verticality and elaborate coiffures of Jean-Antoine Houdon and Augustin Pajou. A concession to Realism is found in the stress on ethnicity in some of his biblical and literary subjects, such as the Young Hannibal Strangling the Eagle (1869; private collection).

Bacchante
Bacchante by

Bacchante

The son of an eminent lawyer and politician on the French island colony of Mauritius, d’Epinay left there to study art in Paris and later, Rome. Eventually he found great success in the salons and was favoured by an aristocratic clientele. The Bacchante is typical of cabinet erotic sculpture acquired to decorate the interiors of wealthy mansions. The features of the femme fatale evident here would soon become a stereotype of Symbolist art.

Cupid Begging
Cupid Begging by

Cupid Begging

The almost complete subordination of sculpture to functions of interior decoration and the far greater kudos given to technical mastery in this field compared to painting did not encourage innovative experimentation. This Cupid pretending to be a beggar once stood in a drawing room of the Anichkov Palace, Alexander III’s residence in St. Petersburg. With its superbly executed thin mantle, it is a typical work that invested Belle �poque apartments with an air of unrestrained and somewhat philistine splendour.

Suggested listening (streaming mp3, 4 minutes):

Francesco Gasparini: The Meddlesome Cupid, aria

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