Alfred Barye (1839 – 1882) was born in Paris, France, the son of Antoine Louis Barye the famous Animalier sculptor, on January 21st 1839. Alfred was an accomplished artist and sculptor in his own right, but for his entire career he worked in the shadow of his much better known and more famous father. Alfred apprenticed under the tutelage of his father and expertly learned the art of bronze sand casting at a very young age while working along side his brothers in his father’s studio and foundry. Because of this early first hand knowledge of foundry techniques, his bronze sculptures show a very high degree of detail, workmanship, and finish to them. Many of his earliest works, done as a young man, are small casts of wild animals, which show the strong influence and teachings of his father. His most successful and numerous subjects were the racehorses of the day, but he is known to have modeled many works in the style of his father as well as in a style that is typically his own.
He signed many of his sculptural works Barye or A. Barye, the same signature that was used by his father. This causes as much confusion today as it did during his lifetime and many of Alfred’s models are mistakenly attributed to and sold as his father’s works. After much family disagreement and at the insistence of his father, he began signing his work Alf. Barye, and later A. Barye Fils. It has been suggested but never confirmed that Alfred Barye was responsible for quite a few unauthorized life time casts of his father’s works.
It is a documented fact that Alfred Barye continued casting his father’s models after his father’s death. There have also been some bronze sculptures reported that appear to be those of Antoine Louis Barye but bear the signature Alf. Barye. Through most of his life he was in constant conflict with his father. At times he worked in his father’s studio, and the two artists set aside their difficulties, but there were also times where neither man spoke to each other, sometimes for years.
Although not as dedicated to art as his father, it cannot be disputed that Alfred Barye is a master sculptor in his own right and recently his bronzes are accorded the respect, admiration, and values that they truly deserve.
Alfred Barye exhibited at the Paris Salon in the following years:
In 1864 he exhibited a bronze sculpture of a Racehorse titled Walter Scott.
In 1865 he exhibited several bronze sculptures of racing horses.
In 1866 he exhibited a bronze of a Racehorse and Jockey.
In 1882 he exhibited a bronze figure of an Italian Jester
The life of Alfred Barye is documented in the following books:
Les Animaliers by Jane Horswell (1971)
The Animaliers by James Mackay (1973)
Animals in Bronze by Christopher Payne (1986)
Bronzes of the 19th Century by Pierre Kjellberg (1994)
A Concise History of Bronzes by George Savage (1968)
Dictionnaire des Peintres et Sculpteurs by E. Benezit (1966)
Dictionnaire de Sculpteurs de l’ecole Francaise by Stanaslas Lami (1914)
Eduardo’s family lived in Guatemala until 1871 and then settled in San Francisco where Eduardo spent the rest of his life. In 1889 he was a partner of W. P. Busch in a fresco and interior decorating business with a studio in the Murphy Building at the corner of Market and Jones. He often collaborated on mural commissions with his father and brother Virgilio.
He died in San Francisco on Nov. 27, 1930.
Mechanics’ Institute (SF), 1878, 1895
California State Fair, 1890-92
Bohemian Club , Farhat Art Museum
Sources; San Francisco Chronicle, 11-28-1930 (obit) and 3-6-1963; OR; American Art Annual, 1931 (obit).
Edan Hughes, “Artists in California, 1786-1940″
Edwin Longsden Long, RA (Royal Academy) was an English genre, history, biblical and portrait painter. He was born in Bath, Somerset, the son of E. Long, an artist (from Kelston in Somerset), and was educated at Dr. Viner’s School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others.
Long made the acquaintance of John Phillip RA, and accompanied him to Spain, where they spent much time. Long was greatly influenced by the paintings of Velasquez and other Spanish masters, and his earlier pictures, such as La Posada'(1864) and Lazarilla and the blind beggar'(1870), were painted under Spanish influence. His first important pictures were The Suppliants'(1872) and The Babylonian marriage market (both subsequently purchased by Thomas Holloway).
In 1874, he visited Egypt and Syria, and subsequently his work took a new direction. He became thoroughly imbued with middle-eastern archaeology and painted Oriental scenes such as The Egyptian Feast (1877) and The Gods and their makers (1878).
Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His pictures always attracted attention and his Diana or Christ? (1881) greatly enhanced his reputation at the time. His pictures suited the taste and appealed to the religious sentiment of a large portion of the public, and their popularity was increased by a wide circulation of engravings. He consequently determined to exhibit his next pictures in a separate gallery of his own in Bond Street, London and there in 1883, and the following years, his Anno Domini’and Zeuxis at Crotona met with great commercial success.
Long died from pneumonia resulting from influenza, at his home, “Kelston” in Netherhall Gardens, Hampstead, on 15 May 1891, in his sixty-second year. He was buried in West Hampstead Cemetery. The will signed by him on the day of his death was the subject of a lawsuit, to which his relatives were parties, but the matter in dispute was amicably settled.
Long married a daughter of Dr. William Aiton, by whom he left a family, of whom a son, Maurice Long, was killed in a railway accident at Burgos in Spain on 23 Sep. 1892.
Besides the “Edwin Long” Gallery in Old Bond Street, a number of his pictures was collected together after his death, and formed the nucleus of a gallery of Christian Art, which replaced the works of Gustave Doré in the well-known gallery in New Bond Street.
Long had considerable practice as a portrait painter but his success in that line was not conspicuous, although he obtained high patronage and very large prices. He painted for the Baroness Burdett Coutts (his chief patron) portraits of herself, her friend Mrs. Brown, and Henry Irving. Among other portraits of his latter years were a memorial portrait of the Earl of Iddesleigh, of which he painted a replica for the National Portrait Gallery, portraits of Cardinal Manning (perhaps his best effort in this line), Samuel Cousins, Sir Edmund Henderson and others.
According to art historian Lionel Cust, “In his earlier works Long showed great power and thoroughly deserved his success and popularity”, but added that his later works “suffered from a continual repetition of types which resulted in monotony”.
Wikipedia, “Edwin Long”, http://en.wikipedia.org/wiki/Edwin_Long, 18 January 2013