Did you know that the Impasse Maumelat was once a haven for sculptors? Let’s step back in time to discover its unique charm.
The Impasse Maumelat wasn’t always as quiet as it is today. In the late 19th century, this area was part of Vaugirard. Vaugirard was a suburban neighborhood before it became part of Paris in 1860. Gardens, houses, and dirt roads were common. This made it ideal for sculptors needing open spaces.
Artists’ residences began to appear. Sculptors worked on the ground floor of these residences. Painters set up their studios above. The Impasse Maumelat was a narrow passageway. It was bordered by small grey buildings, stalls, and warehouses. The road was muddy with disjointed pavement. Puddles formed easily when it rained. One critic noted that high-society clients wouldn’t dare venture there.
The tranquility of Impasse Maumelat contrasted with the busy train station and boulevards. Birds sang and children played. Chickens pecked among the cobblestones. It felt like a provincial town. Yet, it was a short walk from the Rue de Rennes.
Antoine Bourdelle was delighted by his garden. It was approximately six by seven meters. It contained all types of trees, rose bushes, and carnations. He woke up to the squawking of sparrows. Another critic was charmed by the lilacs and apple trees. The atmosphere was perfect for work and meditation.
In January 1885, Bourdelle settled at number 16 Impasse Maumelat. He rented one of the new studios built by carpenter Pierre Auguste Paillard. He trained with Jules Dalou at number 18. Jean Turcan, Georges Récipon, and Augustin Antonini lived across the street at number 11. José de Charmoy, at number 9, created the Monument to Baudelaire.
Number 16 Impasse Maumelat teemed with artists. Eugène Carrière visited briefly. However, Jules Cambos stayed for a long time from 1886 to 1914. Some neighbors became friends. These included painters René Prinet and Orville Root. Bourdelle’s students and practitioners also lived there. Gaston Toussaint was one of them.
Bourdelle’s success grew over time. He took over all the studios at number 16. He then expanded to other studios in the Impasse Maumelat. His large production required more workspace. Despite this, the area remained peaceful. In 1928, Sándor Kémeri noted the serenity. He described it as a symphony on a summer morning.
Today, as you stand here in Impasse Maumelat, imagine the artists. Picture them creating masterpieces in their studios. This quiet impasse was once a vibrant hub of artistic creation. Its history echoes with the sounds of chisels and the dreams of sculptors.