The Dance of controversy
Façade of the Palais Garnier with labels indicating the locations of various sculptures
By Peter Rivera, photographer(Labels added by User:Robert.Allen) - Derivative of File:Paris Opera full frontal architecture, May 2009.jpg, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=16941178
In the heart of Paris, Charles Garnier's Opéra Garnier stands as a masterpiece of architectural splendor. Yet, hidden within its opulent façade is a copy of a sculpture that became a focal point of both opulence and controversy. Join us as we unravel the tumultuous story of this provocative piece, from its vibrant debut to its eventual repose at the Musée d'Orsay.
In 1861, Napoleon III commissioned the young architect Charles Garnier to design a new opera house in Paris – the now-famous Palais Garnier.
To embellish the façade of the opera, Garnier enlisted four renowned artists to create sculptural groups representing the themes of Dance, Lyric Drama, Harmony, and Music.
The theme of Dance was entrusted to Jean-Baptiste Carpeaux, an artist praised for creating works "more lifelike than life itself."
Born in Valenciennes in 1827, Carpeaux was the son of a bricklayer father and a lace maker mother. After his family relocated to Paris, he began his artistic education at the Petite École, the royal school of drawing and mathematics, where he formed a lasting friendship with Charles Garnier. Carpeaux’s exceptional talent soon became evident, leading him to apprentice in the studios of Abel de Pujol, François Rude, and Francisque Duret. His first major achievement came in 1854 when he was awarded the prestigious Grand Prix de Rome for his work "Hector Imploring the Gods on Behalf of His Son Astyanax."
The commission for the dance-themed sculpture group was formalized on August 17, 1865, and signed by Marshal Jean-Baptiste Philibert Vaillant, the Minister of Fine Arts. The official document stated: "Monsieur Carpeaux is entrusted with sculpting one of the figure groups that will adorn the base of the New Opera’s façade. These groups, consisting of three figures with their corresponding accessories, will stand 2.60 meters high and be carved from Échaillon marble; a sum of three thousand francs is allocated for this work."
It took Carpeaux three years to complete his sculpture, titled "La Danse." The composition is dominated by the Spirit of Dance, holding a tambourine, with wings spread and a wide smile. He is encircled by a group of nude women, uninhibited and lost in their dance, while Cupid lies at their feet, grounding the lower portion of the sculpture. Carpeaux aimed to capture the movement of the dancers, which he successfully achieved “through a dual momentum of circular and vertical motion.”
Jean-Baptiste Carpeaux
La Danse, 1869, groupe en pierre d'Echaillon
H. 420 ; L. 298 ; P. 145 cm; pds. 18000 kg. (trois assises superposées : 3,5 + 8,7 + 6 tonnes ; total : 18,2)
© Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
The overall effect of the sculpture’s various elements is vibrant, raw, and intensely sensual. However, the realistic portrayal of nude women elicited a negative reaction at the opening ceremony. Carpeaux’s "La Danse" faced harsh criticism from both the press and the public. A journalist from Le Figaro derided the figures as "immodest circus performers," while Le Siècle referred to them as "drunken maenads." Many critics deemed the sculpture obscene, immoral, and lacking in academic merit.
A month after its unveiling, the sculpture was vandalized with black ink. This led to discussions about replacing "La Danse" with another sculpture by Charles Gumery.
‘L’Accident Carpeaux’ [The Carpeaux Accident]
Front Page of “L’Eclipse” 11 September 1869
© RMN GP, Musée d’Orsay / Patrice Schm
However, the controversy subsided with the onset of the Franco-Prussian War and Carpeaux’s subsequent death.
"La Danse" remained at the Opéra Garnier until 1964, when it was transferred to the Louvre and replaced with a copy. Today, the original sculpture is displayed at the Musée d'Orsay in Paris.