Pierre-François Berruer
Pierre-François Berruer | |
---|---|
Born | 1733 Paris, France |
Died | 4 April 1797 Paris, France |
Nationality | French |
Occupation | Sculptor |
Known for | Statues on facade of the Grand-Théâtre of Bordeaux. |
Pierre-François Berruer (1733 – 4 April 1797) was a French sculptor. He is known for the twelve statues that decorate the front of the Grand Théâtre de Bordeaux.
Early years
Pierre François Berruer was born in Paris in 1733. In 1754 he won the second prize of the Prix de Rome after Charles-Antoine Bridan (1730–1808) with his Le Massacre des Innocents. He won the first prize in 1756, tied with André-Jean Lebrun (1737–1811), with his Abraham et Melchisédech. This gained him a scholarship to the Villa Medici in Rome from 1758 to 1764. He was a pupil of Étienne Maurice Falconet (1716–1791) and René-Michel Slodtz (1705–1764). After returning to France, Berruer was admitted to the Académie royale de peinture et de sculpture in 1765.[1]
Career
In 1767 Berruer made a marble statue of Hebe holding a cup and vase for the Duc de Choiseul.[2] In the
Berruer designed a long relief panel for the facade of the École de Chirurgie in Paris, built in 1769–74. The panel is placed above the entablature of the Ionic order and below the upper cornice. It shows King
Berruer made two busts of the engraver
Berruer was named a professor at the
Pierre François Berruer married Anne-Catherine Ménagé. He died at home in the Cour du Museum in the 4th arrondissement of Paris on 15 Germinal V (4 April 1797). He was aged 63.[9]
Selected works
Works include:
- Bordeaux :
- Grand Théâtre de Bordeaux, facade : Nine muses and three goddesses, 1780,
- Musée des Beaux-Arts : Hébé, 1767, terracotta,
- Chartres, Chartres Cathedral :
- Charity and Hope, high relief in the choir,
- Faith and Humility, high relief in the choir,
- The Baptism of Christ, bas-relief,
- The Annunciation, bas-relief,
- Paris :
- École de Chirurgie, relief on the front : Theory and Practice swear eternal union, 1780,
- The Louvre: Louis XV rewards Painting and Sculpture, 1770, bas-relief in marble,
- Henri d'Aguesseau, Chancellor of France, c. 1779, marble,
- Unknomn location :
- Bacchic scene, 1784,
- Bust of the engraver Jacques Roëttiers, terracotta in 1773, marble in 1775,
- Nymph of Sincerity holding a dove in her hands.
References
Citations
- ^ a b Braquahaye 1876.
- ^ Worley 2003, p. 45.
- ^ Delon 2013, p. 1348.
- ^ Braham 1989, p. 140.
- ^ Braham 1989, p. 139.
- ^ Tuchendler 2014, p. 144.
- ^ Daufresne 2004, p. 278.
- ^ Daufresne 2004, p. 151.
- ^ Piot 1862, p. 164.
Sources
- Braham, Allan (1989). The Architecture of the French Enlightenment. University of California Press. ISBN 978-0-520-06739-4. Retrieved 2014-07-01.
- Braquahaye, Charles (March 1876). Conjectures sur la destination des corniches à têtes feuillées du musée de Bordeaux, III, 1st fasc. Société archéologique de Bordeaux.
- Daufresne, Jean-Claude (2004-01-01). Théâtre de l'Odéon: architecture, décors, musée. Editions Mardaga. ISBN 978-2-87009-873-8. Retrieved 2014-07-01.
- Delon, Michel (2013-12-04). Encyclopedia of the Enlightenment. Routledge. ISBN 978-1-135-95998-2. Retrieved 2014-06-30.
- Piot, Eugène (1862). Le cabinet de l'amateur: ann?es 1861 et 1862. Рипол Классик. ISBN 978-5-88123-802-5. Retrieved 2014-07-01.
- Tuchendler, Jacques (2014-01-01). Les Roëttiers de la Tour et de Montaleau: orfèvres, francs-maçons, industriels – XVIIIe et XIXe siècles. SPM. ISBN 978-2-336-33442-4. Retrieved 2014-07-01.
- Worley, Michael Preston (2003). Pierre Julien: Sculptor to Queen Marie-Antoinette. iUniverse. ISBN 978-0-595-29471-8. Retrieved 2014-06-30.