Charles Carpeaux at The Kimbell Art Museum, USA

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Jean-Baptiste Carpeaux's exceptional talent as a portraitist made him highly sought after by prominent individuals, including members of the French imperial household. Among his finest works is this poignant bust of Charles, his older brother and musician who died in 1870 after enduring prolonged suffering. Carpeaux initially created a rapid sketch of his brother in plaster (Musée du Petit Palais, Paris), which was reportedly made for personal solace as his brother lay on his deathbed. The Kimbell's terracotta cast preserves the artist's physical involvement through its expressive handling, particularly in the texture of the jacket and hair. Visible signs of Carpeaux's fingers remain on the back and side of the figure's coat, while the lines along the sleeves, created with a stylus, resemble chisel marks still visible on an unfinished marble sculpture. These textures evoke a sense of intimacy, as if the viewer is witnessing the sculptor at work in his studio. They also convey an air of melancholy: the rough, unfinished appearance seems fitting for a life cut short. By virtue of its innovative surfaces, this portrait ranks among Carpeaux's most forward-thinking works, foreshadowing Rodin's similarly bold experimentation. As one of France's preeminent sculptors, Carpeaux is best known for his influential sculpture of nude allegorical figures adorning the facade of the Paris Opera House (The Dance, now housed in the Musée d'Orsay, Paris), which sparked controversy and vandalism upon completion in 1869.