“Another dead end?” That’s probably what you’re thinking as you stand before the Impasse du Clos.
This unassuming cul-de-sac in Malakoff offers a glimpse into a quieter side of Parisian life. It’s a part of Paris that often goes unnoticed. Paris has about 600 of these cul-de-sacs. They are also known as “cités”, villas and squares: streets that end in a dead end.
Malakoff, where we find the Impasse du Clos, is a commune in the Hauts-de-Seine department. The department is in the Île-de-France region.
Imagine stepping back in time. Picture Paris in the late 19th century. Vaugirard, now part of Paris since 1860, was a suburban area. Gardens and houses lined dirt roads.
Sculptors sought these open spaces. They needed one-story accommodations. Artists’ residences began appearing in places like the Impasse du Maine, now Rue Antoine-Bourdelle. Sculptors worked on the ground floor. Painters set up studios above. The Impasse du Maine was a narrow passage. Small grey buildings bordered it. Stalls and warehouses added to the scene. The road was muddy and the pavement disjointed. Puddles formed with the slightest rain.
Clients of high-society painters hesitated to venture there. The tranquility contrasted with the bustling train station. Birds sang and children played. Chickens pecked between cobblestones. It felt like a provincial town. Yet it was a short walk from the Rue de Rennes.
Antoine Bourdelle reveled in his garden. It measured roughly six by seven meters. It contained various trees, rose bushes, and carnations. He awoke to the delightful squawking of sparrows. The atmosphere fostered work and meditation.
In January 1885, Bourdelle settled at number 16. He trained with Jules Dalou, his neighbor from number 18. Across the street lived sculptors Jean Turcan and Georges Récipon. José de Charmoy created the Monument to Baudelaire at number 9.
The house at number 16 bustled with artists. Painter Eugène Carrière made a short visit. Sculptor Jules Cambos stayed much longer. Some neighbors became friends like painters René Prinet and Orville Root. Bourdelle’s students and practitioners also lived there.
Over time, Bourdelle acquired all the studios at number 16. He then expanded to others in the Impasse. His prolific production demanded workspace and storage. The Impasse du Clos, like the Impasse du Maine, retains its quiet charm.
As you stand here, consider the layers of history beneath your feet. This dead end is more than just a street. It is a place of artistic inspiration. It is a haven from the city’s relentless pace. Close your eyes for a moment and listen. Perhaps you too will hear the whispers of Paris.