Atelier Carpeaux

Amidst the grandeur of Paris, a unique tale unfolds at the Atelier Carpeaux. This building, located at 39 Boulevard Excelmans, intertwines the legacies of two prominent figures of the late 19th century: sculptor Jean-Baptiste Carpeaux and architect Hector Guimard. Atelier Carpeaux is not what it seems. The sculptor himself never occupied this building. His actual studio resided at number 25 on the same boulevard. The present Atelier Carpeaux stands as a tribute, commissioned in 1895 by his widow, Amélie Carpeaux, twenty years after the artist’s death. She entrusted the project to a rising star, Hector Guimard. Amélie’s story is one of resilience. A year before Carpeaux’s death in 1875, the couple separated, though they remained legally married. They had three children. However, upon separation, Carpeaux excluded his family from his will. His death left a young widow at 26, embarking on a challenging battle to reclaim her rights. Carpeaux had even cast doubt on the paternity of their children. Amélie fought for custody and sought to recover assets. In 1869, the couple’s life seemed promising. They had purchased land in Auteuil and built a grand Second Empire style mansion, complete with an octagonal tower and an Italian-style terrace. After Carpeaux’s death, Amélie faced creditors and repeatedly sold off possessions. This Auteuil home became essential to her. Its design was later replicated for her villa, Villa Flore, in Houlgate in 1885. Amélie Carpeaux took on the task of modifying her late husband’s studio. In 1888, she converted the building at the edge of the property into an independent apartment. It was possibly intended for her 18-year-old son, Charles. The space, including a bedroom, living room, dining room, library, and kitchen, was well-suited for a bachelor. The Atelier Carpeaux underwent a second transformation in 1894-1895. This marked Hector Guimard’s contribution to the structure. At 28, Guimard added a brick-and-glass upper level, along with the two sculptures adorning the main facade. An exterior staircase provided access to the second floor. Amélie’s financial situation had improved, allowing her re-entry into society. The ground floor was converted into a reception area. Filled with Carpeaux’s works, it served to uphold the family’s social standing. The new Atelier Carpeaux was inaugurated with a grand ball, held in front of a replica of Carpeaux’s famous work for the Opera Garnier. In 1898, the Carpeaux family demolished the large mansion. Plans for a new building on the site, even sketched by Guimard, were cancelled. Amélie retreated to the Atelier. Tragedy struck again in 1904 with Charles’s death at 33 in Saigon. A heartbroken Amélie displayed his body in the Atelier before burial in Auteuil. She withdrew from public life and died in 1908. In 1913, shortly before World War I, the sculptures within Atelier Carpeaux were auctioned off. This event exposed tensions between Carpeaux’s surviving children. Amélie had favored her daughter, finding her son’s life too dissolute. A catalog, now at the Bibliothèque Nationale de France, preserves a record of the sale. It showcases studies for the Opera’s “La Danse” and the group “Ugolino and His Sons.” Louise Clément Carpeaux became the sole owner of the remaining Auteuil property in 1910. In 1914, she and her husband renovated the Atelier into their residence.