Ottin, Auguste, account

 

 

Impressionism, a historical reconstruction:

Auguste Ottin

(1811-1890)

Account

of his exhibited sculptures

 

Introduction:
On this page you will find an account of what works Auguste-Louis-Marie Ottin showed at the 1st ‘impressionist’ exposition in 1874 and at the Salon. For the used sources see at the bottom of the main page on Auguste Ottin. See link for the pictures of the exhibited works.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 119 – 128
  • so in total Auguste Louis Marie Ottin exhibited 10 works ;
    • ox an indication of place
    • 0x an indication of time, season or weather
    • 0x a study
    • ox a loan
  • See for the suggestions of Adhémar (R87,p248), Moffett (R2,p122) and Berson (R90II,p11+26)
  • See link for the pictures.

short overview given suggestions + reviews:
No.120+121+122: the bronze reductions are lost the original statues are in the Jardin du Luxembourg as indicated in the subtitle.
no.119: the only review refers wrongly to the same group of statues in the Jardin du Luxembourg. Ottin exhibited two variations at the Salon, one was bought by the State and must be somewhere in some French museum.
No.123 + 124 are terracotta copies of a marble statue now in Poitiers.
No.125 is not mentioned in the reviews; the title is very common; no suggestions are given (R2;R87;R90).
No.126 was a plaster reduction of the marble that is now in in Paris ENBA.
Of no.127 + 128 just the title is mentioned in a review; no suggestions are given (R2;R87;R90).
No.128 maybe is a terra cotta version of the bronze exhibited S1863-2512, based on the initiales in the title.

Reviews:
De Montifaud
(1874/05/01) reviewed: ‘The sculpture is represented by only one name, M. Auguste Ottin, who gave bronze reductions of the decorative sculptures of the Medici fountain, in the Luxembourg, Amour et Psyché, Acis et Galathée, Jeune faune, Nymphe chasseresse, as well as two topics: Jeune femme portant un vase; these two copies offer serious qualities in the turn, the model, and the elegant curve of the arm that attaches to the amphora. To Mr Ottin’s oeuvre, we must add: the Buste de Ingres, réduction plâtre; le Dernier mousse du Vengeur, plâtre; and the Buste de M.B***, terre cuite.’

1874 catalogue: (R2,p122;R87,p248;R90I,p7;iR1)

1IE-1874-119, Amour et Psyché, groupe marbre.
Nor Adhémar, nor Moffett, nor Berson give a suggestion. Compare: S1847-2137 + S1861-3533 (R90II,p11). Berson mentions that the S1847-2137 was bought by the state in 1853 and that the S1861-3533 was another marble group (R90II,p11). Berson refers to a review of de Montifaud (R90II,p11), who includes this work to no.120-122 being part of the Medici fountain in Jardin du Luxembourg, which doesn’t seem correct. I don’t have a suggestion. See Wikipedia for more info on the mythe, Amour / Amor (Cupid) or Psyche (Eros) (iR3).
To compare I render another marble statue of Cupid and Psyche made by another artist in 1845: G.M. Benzoni (1809-73), 1845, Cupid and Psyche, marble, 102x60x163, GAM Milan (iR6;iR10;iR94;M107); note: some sources locate it in Musée Marmottan (M2).

1IE-1874-120, Acis et Galathée
1IE-1874-121, Jeune Faune
1IE-1874-122, Nymphe chasseresse,
(Additional subscription): réductions en bronze des sculptures décoratives de la fontaine Médicis, au Luxembourg.
Compare: S1852-1504; S1855-4521; S1859-p531; S1864-p546; S1866-p465. Bronze reductions of the marble statue ‘Galatea dans le bras de Acis’ and the stone statues ‘Diane (chasseresse)’ to the right and ‘Pan’ to the left. All part of the Fontaine de Marie de Médicis in the Jardin du Luxembourg in Paris. Adhémar shows the Acis et Galathée statue from the Jardin du Luxembourg (R87,p248). Moffett also suggests the Medici fountain in the Jardin du Luxembourg in Paris (R2,p122). Berson also mentions the Jeune Faune to the left and the Nymphe chasseresse to the right (R90II,p11+26). Berson mentions that the present locations of the bronze reductions are unknown, she also refers to the review of De Montifaud (R90II,p11). See Wikipedia for more info on the mythe (iR3).

1IE-1874-123, Jeune femme portant un vase, terre cuite
1IE-1874-124, Jeune femme portant un vase, terre cuite
Eng.: Young woman wearing a vase, terracotta. Compare: S1857-3044; S1861-3532. Probably two replicas of: 1861, Jeune fille tenant un vase, marbre, 115x31x26, Musée Saint-Croix Poitiers (iR10;iR126;R90II,p11). De Montifaud (1874/05/01) writes in her review: ’these two copies render serious qualities in the turn, the shape, and the elegant arcade of the arm which is connected to the amphora, with a delicate curve.’ (R87,p268).

1IE-1874-125, Buste, terre cuite
Eng.: Bust, terracotta. A very common title so hard to identify. Nor Adhémar, nor Moffett, nor Berson give a suggestion. Berson omits this work, which means there were no reviews (R90II,p11). As a very uncertain suggestion I render: 1838, Torse du Belvédère, sc, xx, Ecole des Beaux-Arts Paris (iR125).

1IE-1874-126, buste de Ingres, réduction en plâtre.
Eng.: bust of Ingres, reduction in plaster. Adhémar refers to a work now in the Musée de Montauban (R87,p248), Moffett adds ‘Musée Ingres, Montauban (R2,p122), Berson adds the height of this plaster 53cm (R90II,p11+26). Now: 18xx, Buste d’Ingres, plaster, h.53, MIB Montauban (R90II,p26+11;R2,p122;R87,p248;M197). Compare: 1840, Buste d’Ingres, marble, xx, Musée Ingres Bourdelle Montauban (iR6;iR10;M197). Berson refers to a review of de Montifaud (R90II,p11), who just mentions the title.
Compare:
S1842-1996, Buste de M. Ingres; bronze = 18xx, Buste d’Ingres (JAD Ingres), bronze, 43x27x29, MNCh Versailles (iR357;M5;iR1;aR18=iR242;M195)
S=EU-1855-4522, Portrait de M. Ingres; buste, marbre = 1840, SD, Buste d’Ingres (Ingres), marble, 61x28x23, Villa Medici Rome (aR18=iR242;iR195;iR357;iR1).
S1868-3782, J. P. D. Ingres; buste, marbre (Pour l’Institut) =!? 1868, Buste de Ingres (Ingres B.A. 1780+1867), marble, xx, L’Institute Paris (aR16; iR242;iR10;iR1;aR18=iR242).
Compare also:
1855-84ca, Buste de Ingres (J.A.D. Ingres), plater (?), 53x26x22, Ecole des Beaux-Arts Paris (iR10;iR1;R2,p122;M9). Material: Bust in terracotta-style plaster, then repainted in black (before restoration). Now with a simple patina (=green oxidation layer on bronze objects). (M9)

1IE-1874-127, Le dernier mousse du Vengeur, plâtre
Eng.: The last foam of the Avenger, plaster. Nl.: Het laatste schuim van de wreker, pleisterwerk. Nor Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to a review of de Montifaud (R90II,p11), who just mentions the title. It doesn’t correspond with a title exhibited at the Salon. I don’t have a suggestion made by Ottin. To compare a render a plaster statue made by another artist rendering the sinking of the vessel Le Vengeur: L. Morice (1846-1920), 1879, Naufrage du vaisseau le Vengeur, plaster, 12x25x4, PP Paris (iR6;iR10;M4). See a French WikiPedia page on the boat that sank in 1794 and that became a legend. (iR4). The loast foam in the title of Ottin, could well refer to the foam of the waves. Note also that ‘Vengeur’ is written with a capital, which makes it more likely that it refers to this boat.

1IE-1874-128, Buste de M. B***, terre cuite. 
Compare: S1863-2512. Nor Adhémar, nor Moffett, nor Berson give a suggestion. Maybe a terra cotta version of: 1863ca, Bust of Mgr de Belsunce, bronze, xx, MdH Marseille (iR6;iR10;iR48;iR125). Berson refers to a review of de Montifaud (R90II,p11), who just mentions the title.

 

 

Auguste-Louis-Marie Ottin at the Salon:
Here below you will find an account of the works the Auguste Ottin exhibited at the Salon (=S) and it’s successor the Salon de la Société des Artistes Français (=SdAF). We start with the work he made for the Prix de Rome (=PdR) in 1836. See link for the pictures of the exhibited works.
Note: in 1836 there also was an ‘Ottin’ exhibiting at the Salon, rendering a painting called ‘Moulin à eau’ and living at 12, Rue Simon-le-Franc (iR1). I assume it wasn’t our Auguste.

PdR-1836, Socrate Buvant la Ciguë
Eng.: Socrates drinking the draft. Prix de Rome de sculpture; received the ‘Premier Grand prix de Rome (Sculpture)’ in 1836 (M9;iR3;iR1).

S1836-1402, *Moulin à eau
This work was made by Ottin (iR1). It is not clear if this is our Auguste.

S1841- 2101, Buste de M. G… ; marbre
A marble buste of an unknown man.

S1842-1993, Hercule présentant à Eurysthée les pommes du jardin des Hespérides; statue en marbre
Eng.: Hercules presenting to Eurystea the apples of Hesperides. Ottin received a 2nd class medal (R231/iR19). Some sources say that it is in Jardin du Luxembourg, Paris (iR125), others that the work is untraced after it was in the Jardin du Luxembourg (iR242; iR242; iR3;iR70), It was made after a plaster study (iR242). Compare: S1866-p465.

S1842-1994, Buste de M. Quesnault, avocat-général à la cour de cassation ; marbre
x

S1842-1995, Buste du comte Chaptal ; marbre
x

S1842-1996, Buste de M. Ingres; bronze
18xx, Buste d’Ingres (JAD Ingres), bronze, 43x27x29, MNCh Versailles (iR357;M5;iR1;aR18=iR242;M195). In the Salon database of 1852 and later it is made clear that Auguste Ottin received a ‘médaille de 2e classe’ in 1842. (iR1). Compare: S1855-4522; S1868-3782; 1IE-1874-126.

S1844- 2266, Ecce Homo ; statue en marbre
Additional info: « Jésus sortit donc, portant une couronne d’épine et un manteau d’écarlate ; et Pilate leur dit : Voici l’homme ! » / (Evangile selon saint Jean, chap. XIX, § I.) (iR1). This must be a statue of Jesus on the cross in marble. Now in Versailles, église Saint-Louis (iR125).

S1846-?, Chasseur Indien surpris par un boa; bronze
Eng.: Indian hunter surprised by a boa. Awarded with a medal. In 1853 exhibited in New York. Now in the Chateau Fontainebleau (iR3). The Salon database of 1846 doesn’t mention a work by Auguste Ottin. Still the same database of 1852 and later makes clear that Ottin received a ‘médaille 1ère classe’ in 1846. (iR1) This is affirmed in the catalogue of the Exposition Universelle of 1867 (R231/iR19). Compare: S1857-3043. Probably now: 1846, Chasseur Indien surpris par un boa (An Indian hunter attacked by a Boa), bronze, xx, Fontainebleau Chateau (iR6;iR125;iR10;iR119).

S1846-?, Mater amabilis
Exhibited according to wikiphidias (iR125). According to the Louvre it was exhibited as: La vierge enseigne à son fils à bénir le monde (M5). Not mentioned in the Salon database (iR1).

S1847-2137, L’Amour et Psyché ; marbre
Compare: S1861-3533 + 1IE-1874-119. Berson mentions that the S1847 was bought by the state in 1853 and that the S1861 was another marble group (R90II,p11).

S1847-2138, Leucosis ; statue en marbre
Leucosis is a disease. It is not clear if it is also a mythological figure or someone else.

S1848-4866, Buste de M. de Prony, marbre
Additional info: Propriétaire: le ministre de l’Intérieur (iR1). Full name: Gaspard Riche de Prony. Now in (?): Paris, école des Ponts et Chaussées; Louveciennes (Yvelines); Château de Prunay. (iR125)

S1850-3548, Cheminée monumentale destinée à un Palais de Florence:
/ Buste de Charles Fourrier ;
deux figures au-dessous : la Justice et la Vérité ;
/ Le bas-relief de l’attique représente diverses phases de la vie humaine: les soins donnés à l’enfance, la famille, l’éducation, la jeunesse, le travail, le repos dans le travail, etc… ;
/ Les deux groupes au-dessous de la tablette représentent divers types de l’enfance.
Additional info: (L’architecture de cette cheminée a été dessinée par M. Lefuel). Destination : Florence, un palais. (iR1). Wikipedia tells us this is the Palazzo Renai. It can be found at the first floor. But it also wrongly tells that it was also exhibited at the Salon of 1851. There never was a Salon in 1851. (iR4) Probably: 1850ca, fireplace with buste of Charles Fourier and figures of la Justice and la Vérité, marble, 390×275, KhI Floranze (iR10;iR120;iR1).

S1852-1505, Mlle Richardot, buste ; plâtre
x

S1852-1504, Polyphème surprenant Acis et Galathée ;
Additional info: projet d’achèvement de la fontaine monumentale du Luxembourg. (Modèle à moitié d’exécution du groupe de la niche du milieu.) Paris, jardin du Luxembourg. (iR1). Compare: S1855-4521; S1859-x; S1864-x; S1866-x; 1IE-1874-120. Now: 1852-66, Polyphemus Surprising Acis and Galatea, sc, xx, Fontaine de Medicis, Jardin du Luxembourg, Paris (iR10)

S1853-1466, Lutteurs, le coup de hanche ; groupe en plâtre ;
Additional info: reproduit dans l’Illustration, 1853, 2e semestre, p. 72 (iR1). Probably a plaster version of: 1867, la lutte moderne, le coup de hauche (the hip throw), bronze, xx, MM Barentin (iR10;iR119;iR122).

S1853-1467, Portrait de Mlle Isabelle Constant ; buste ; marbre
x

S=EU-1855-4521, Polyphème surprenant Acis et Galathée ;
Additional info: projet d’achèvement de la fontaine monumentale du Luxembourg; Modèle à moitié d’exécution du groupe de la niche du milieu (Salon de 1852) (iR1). Now: 1852-66, Overview sculptures, Fontaine de Médicis, Jardin du Luxembourg Paris (iR6). Compare: S1852-1504; S1859-x; S1864-x; S1866-x; 1IE-1874-120.

S=EU-1855-4522, Portrait de M. Ingres; buste, marbre
=1840, SD, Buste d’Ingres (Ingres), marble, 61x28x23, Villa Medici Rome (aR18=iR242;iR195;iR1) . Compare: S1842-1996; S1868-3782; 1IE-1874-126.

S1857-3043, Chasseur indien surpris par un boa ; groupe, bronze
Compare S1846.

S1857-3044, Jeune fille portant un vase; groupe, marbre ;
Additional info: Propriétaire Maison de l’empereur [Napoléon III]. (iR1). Théophile Gautier describes her as accompanied by two children (iR126).
Compare: S1861-3532 =!? 1857-61ca, Jeune fille tenant un vase, marbre, 115x31x26, MSC Poitiers (iR10;iR126).
Compare: 1IE-1874-123/4.

S1859-3894, Quatre photographies ; même numéro :
/ La France ; statue, marbre
/ Marseille ; statue, marbre
/ Pitheas ; statue, pierre
/ Eutymenes ; statue, pierre /
Additional info: (Bourse de Marseille) ; Monuments publics – Ouvrages exécutés ou placés dans les Monuments Publics depuis le précédent Salon, et qui, par leur nature, n’ont pu figurer à l’Exposition – Sculpture ; Cette notice n’est pas numérotée et apparaît p. 531 du livret. (iR1)

S1859-p531, Acis et Galathée ; groupe, marbre; 
Additional info: Monuments publics – Sculpture ;propriétaire: le ministère d’Etat ; Cette notice n’est pas numérotée et apparaît p. 531 du livret. Compare: S1852-1504; S1855-4521; S1859-x; S1864-x; S1866-x; 1IE-1874-120.

S1861- 3531, S. M. l’Empereur Napoléon III ; statue, marbre
Additional info: (Appartient à S. A. I. le prince Napoléon) ; Compiègne (iR1). Probably: 1861, Napoléon III en pied, en uniforme et manteau de cour, marble, xx, RMN Grand Palais Compiègne (iR127;iR10;iR3;iR1).

S1861-3532, Jeune fille tenant un vase; statue, marbre
Additional info: caricature Galletti, 1861 (iR1). Now: 1861, Jeune fille tenant un vase, marbre, 115x31x26, MSC Poitiers (iR10;iR126;iR1;R2,p122).
Compare: S1857-3044; 1IE-1874-123/4.

S1861- 3533, Amour et Psyché ; groupe, marbre
Compare: S1847-2137; 1IE-1874-119. Berson mentions that the S1847 was bought by the state in 1853 and that the S1861 was another marble group (R90II,p11).

S1863-2512, Portrait de Monseigneur de Belsunce ; buste, bronze
Probably: 1863ca, Bust of Mgr. de Belsunce, bronze, xx, Musée d’Histoire Marseille (iR6;iR10;iR48;iR125). Compare: 1IE-1874-128.

S1864-2723, Bethsabée ; statue, marbre
x

S1864-3086, Photographie : La marine et le commerce (Grand hôtel de Marseille) ;
Additional info: Le groupe est à Marseille, sur la façade du Grand hôtel (iR1).
S1864-p546, Polyphème surprenant Acis et Galathée ; groupe, bronze et marbre ;
Additional info: (Fontaine du Jardin du Luxembourg) ; Cette notice n’est pas numérotée et apparaît p. 546 du livret ; Paris, jardin du Luxembourg, fontaine Médicis. (iR1).Compare: S1852-1504; S1855-4521; S1859-p531; S1864-p546; S1866-p465; 1IE-1874-120.

S1866-2920, Les orphelins ; bas-relief, plâtre ;
Additional info: (Esquisse pour un tombeau de famille) ; (Voir aux ouvrages exécutés dans les monuments publics) (iR1)

S1866-p465, Jeune faune ; statue, pierre.
S1866-p465, Jeune chasseresse ; statue, pierre ;
Additional info: Fontaine de Médicis, jardin du Luxembourg. Monuments publics. ; Cette notice n’est pas numérotée et apparaît p. 465 du livret. Compare: 1IE-1874-121+122 and also S1852-1504; S1855-4521; S1859-p531; S1864-p546; S1866-p465; 1IE-1874-120.

S1866-p465, Hercule ; terme, pierre ;
Additional info: Parc réservé de Saint-Cloud. Monuments publics ; ministère de la Maison de l’empereur et des beaux-arts, le ; Cette notice n’est pas numérotée et apparaît p. 465 du livret. (iR1) Compare: 1842-1993. Now: 1866, Hercule, stone, xx, Park Saint-Cloud (iR6;iR10;iR125;iR1)

S1868-3781, Henri IV ; statue, plâtre ;
Additional info: le ministère de la Maison de l’empereur et des beaux-arts (iR1)

S1868-3782, J. P. D. Ingres; buste, marbre;
Additional info: (Pour l’Institut) ; (M. de la Maison de l’Empereur et des Beaux-Arts) (iR1).
=!? 1868, Buste de Ingres (Ingres B.A. 1780+1867), marble, xx, L’Institute Paris (aR16;iR10;iR1;aR18=iR242) Compare: S1842-1996; S1855-4522; 1IE-1874-126.

S1869-3624, Thésée précipite le brigand Scyron du haut des rochers dans la mer; groupe, plâtre.
Eng.: Theseus precipitates Scyron, the robber, from the top of the rocks into the sea; group, plaster. Compare S1876-3522. At the Villa Médici in Rome, Ottin made in 1838 / 39 a plaster called: Thésée terrassant Procuste (Eng.: Theseus defeating Procrusteus); it is now lost (iR242).

S1870-4767, La Vérité s’élevant au-dessus des nuages et se dégageant des voiles qui l’enveloppent ; statue, plâtre
Eng.: The Truth rising above the clouds and coming out of the veils that surround it; statue, plaster. Compare S1874-3079.

S1874-3079, La Vérité ; statue, marbre
Compare S1870-4767.

S1875-3314, Campaspe ; statue, plâtre
Additional info: Alexandre le Grand voulant que son esclave Campaspe fût peinte par Apelle, lui ordonne de se mettre nue devant l’artiste. (iR1). Compare S1883-4036. Probably a plaster version of: 1883, Campaspe taking off her clothes in front of Apelles by order of Alexander, sc, xx, Palais du Louvre (iR6;iR10;iR119;iR125).

S1876-3522, Thésée précipitant Scyron à la mer; groupe, fonte de fer
Eng.: Theseus precipitating Scyron into the sea; group, cast iron. Compare S1869-3624.

SdAF-1882-4719, Triomphe de la République ; bas-reliefs, plâtre /
1. Le peuple amené à la République par l’éducation /
2. La jeunesse sème des fleurs sur le chemin /
3. Le travail humain /
4. La République protectrice des faibles est consacrée par le suffrage universel /
5. La Liberté brûle les armes de guerre et la hache du bourreau /
6. Acclamations de tous les peuples à la République Universelle
Additional info: Sculpture; bas-relief, plâtre; En collaboration avec M. Hiolin.
Compare SdAF-1885-4061.
Eng.: 1. The people brought to the Republic through education /.
2. Youth sows flowers on the path /
3. Human labour /
4. The Republic, protector of the weak, is consecrated by universal voting rights /
5. Liberty burns the weapons of war and the executioner’s axe /.
6. Acclamations from all peoples to the Universal Republic
Now in the Petit Palais in Paris (M4).

SdAF-1883-4036, Campaspe se déshabillant devant Apelle, par ordre d’Alexandre ; statue, marbre.
Compare S1875-3314.

SdAF-1885-4067, Marche triomphale de la République
Compare: Dumas, F.G.: 1885ca, Marche triomphale de la République, drawing, xx, Catalogue illustré (aR13,p162) . Compare also SdAF-1882-4719, Triomphe de la République, a similar item.

SdAF-1886-4379, Portrait de M. Cantagrel ; buste, marbre
x

 

Auguste-Louis-Marie Ottin at the Exposition Universelle:
Auguste Ottin exhibited at the Exposition Universelle in 1855 (which coincided with the Salon) and 1867.

S=EU-1855-4521, Polyphème surprenant Acis et Galathée ;
Additional info: projet d’achèvement de la fontaine monumentale du Luxembourg; Modèle à moitié d’exécution du groupe de la niche du milieu (Salon de 1852) (iR1). Now: 1852-66, Overview sculptures, Fontaine de Médicis, Jardin du Luxembourg Paris (iR6). Compare: S1852-1504; S1859-x; S1864-x; S1866-x; 1IE-1874-120.

S=EU-1855-4522, Portrait de M. Ingres; buste, marbre
Probably: 1855ca, Buste de Ingres, marble, xx, Ecole des Beaux-Arts Paris (iR10;iR1;R2,p122;M9). Compare: S1842-1996; S1868-3782; 1IE-1874-126.

1867: Exposition Universelle (=EU-1867) (R231/iR19):
EU-1867-III-802, La lutte moderne, le coup de hanche, groupe bronze
Additional text: La lutte à mains plates est encore en vigueur dans toute la Provence. Probably: 1867, la lutte moderne, le coup de hauche (the hip throw), bronze, xx, MM Barentin (iR10;iR119;iR122;iR1;R231) .

 

 

Recommanded citation: “Impressionism: Auguste-Louis-Marie Ottin (1811-1890); account of his exhibited art-works. Last modified 2024/03/23. https://www.impressionism.nl/ottin-auguste-account/