JeanBaptiste Carpeaux (11 May 1827 12 October 1875) was a French sculptor and painter during the Second Empire under Napoleon III. Born in Valenciennes, Nord, son of a mason, his early studies were under Franois Rude. Carpeaux entered the cole des BeauxArts in 1844 and won the Prix de Rome in
L’Université Brown de Providence à Rhode Island (Etats-Unis) a dévoilé des clichés rares de soldats français qui ont combattu au côté de Napoléon Bonaparte à la bataille de Waterloo.
Vivant aussi bien que mort, il profite autant qu’il souffre de la comparaison avec Napoléon le premier.
FIGAROVOX/TRIBUNE - Le 2 décembre 1851, le prince Louis-Napoléon accomplissait son coup d’État. Peu évoqué par les historiens, le Second Empire semble avoir mauvaise réputation. Pourtant le règne de Napoléon III contribua grandement à l’essor économique et industriel de la France, juge Jean-Loup Bonnamy, normalien.
Encore un Empire qui commence bien et finit mal, malgré un tournant libéral. Les historiens ont révisé leur jugement sur «Napoléon le Petit» (haï par Hugo), mais la guerre franco-allemande de 1870 saigne la France vaincue, amputée de l’Alsace-Lorraine. La République s’installe tant bien que mal, entre scandales, attentats et crises. C’est l’apprentissage de la démocratie. Et la Belle Époque.Première Guerre mondiale (1914-1918) : tragédie sans égale.
I have been working toward this for five years, gone through a few versions, an feel like I am at least close. It is the simplest looking but most complicated coat to nail coat I have ever done. My objective was to make a typical "sack" or "lounge" coat (with a number of other designations depending on specific characteristics applied) that would straddle the 1880s to the early 1890s. Here is what came out: It was one of the only fashionable coats made with three seams (no side body piece) after ca. 1840. The details ebbed and flowed once a rather ill fitted version had taken hold by ca. 1860 through past the end of the century. For basic shapes, I actually started with an 1860s sack coat pattern that kinda-sorta fit and worked from there. Widened the collar and lapels by 3/4", shaped the area between the second to top button and start of lapel fold to better fit my chest, slightly more heavily interfaced the chest, re-shaped the sleeves (the early 1860s fashionable sleeve was very wide) based on some extant pieces in my collection with a similar shape that I was going for, introduced a body fish between the armsye and pockets with help from page 108 of The Victorian Tailor by Jason MacLochlainn, and introduced a ticket pocket above the right hip pocket (also with some help from MacLochlainn's diagrams). The ticket pocket pocket occurring more often than not in a variety of primary documentation from the 1880s. I moved the breast pocket slightly but next time need to adjust the angle. I also used a cotton/linen blend canvas for interfacing and regret not using hair canvas; will not make that mistake again. Some primary documentation to back up my decisions: Beginning of the general look- Bat Masterson, ca. 1879. Ca. 1880s, Patterson Homestead in Ohio, via my friend Katie Nowack. Ca. 1889-1890, J. Mitchell Co., New York, Fall-Winter. Ca. 1890 via freeuk.com Extant suit conforming to general characteristics via Augusta Auctions. By the end of the 1890s, styles were changing again (as they do), with the most conspicuous difference being a more dramatic slope to the front bodies: MET Collection.
Jean-Joseph Perraud (1819-1876) was a French academic sculptor. According to Eaton, "During the Second Empire no sculptor enjoyed a greater reputation", although his style fell out of fashion soon after his death.
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