Peeking into the past, what stories whisper from the stones of Impasse Doussineau? Impasse Doussineau may seem like any other narrow passageway in Paris. But it holds secrets of a bygone era.
The late 19th century saw Vaugirard, where Impasse Doussineau is located, transform. Vaugirard became part of Paris in 1860. It retained a suburban feel. Gardens, houses, and dirt roads remained untouched by urban sprawl. This attracted sculptors seeking open spaces. One-story accommodations were also desirable. Artists’ residences began to appear, including those in Impasse Doussineau. Sculptors worked on the ground floor. Painters set up their studios above.
Impasse Doussineau was a narrow passageway. It was bordered by small gray buildings, stalls, and warehouses. The road was muddy with disjointed pavement. Puddles formed with the slightest rain. A critic noted that high-society painters’ clients would never venture there.
Despite its humble appearance, Impasse Doussineau offered tranquility. This contrasted with the bustle of the train station and boulevards. Birds sang. Children played in the street. Chickens pecked between the cobblestones. It felt like a provincial town, not a short walk from Rue de Rennes.
Antoine Bourdelle captured the essence of Impasse Doussineau. He wrote of a huge garden with trees, rose bushes, and carnations. He awoke to the delightful squawking of sparrows. Another critic was bewitched by the fragrant lilacs and apple trees. The atmosphere was conducive to work and meditation.
In January 1885, Bourdelle settled at number 16 Impasse Doussineau. He rented one of the new studios built by carpenter Pierre Auguste Paillard. He trained with Jules Dalou at number 18. Across the street at number 11 lived sculptors Jean Turcan, Georges Récipon and Augustin Antonini. At number 9, José de Charmoy created the Monument to Baudelaire.
Number 16 Impasse Doussineau became a hub for artists. Painter Eugène Carrière visited briefly. Sculptor Jules Cambos stayed much longer. Neighbors became friends. Painters René Prinet and Orville Root were among them. Bourdelle’s students like Gaston Toussaint also lived there.
As Bourdelle gained success, he acquired more studios in Impasse Doussineau. His prolific work required ample workspace and storage. Yet, according to Sándor Kémeri in 1928, the place remained quiet. He described the symphony of a summer morning resonating in the peaceful serenity of the impasse.
Though Impasse Doussineau became Rue Antoine-Bourdelle in 1930, the echoes of its artistic past linger. Stand here and imagine the sculptors and painters. Visualize their studios filled with art and the sounds of creation. Hear the birds singing and children playing. Impasse Doussineau was a haven for artists. It fostered creativity and tranquility in the heart of Paris.