Auguste Préault in 10 Romantic Sculptures

Although little is known about Auguste Préault’s early years, we do know he studied under David d’Angers. Under his mentor’s guidance, he exhibited for the first time at the Paris Salon in 1833. However, his strong opinions and support for the 1830 French Revolution angered the artistic elite. As a result, vandals destroyed his studio, and many of his plaster models were lost.

Instead of embracing classical themes, Préault turned away from myths and heroic figures. He drew inspiration from literature and poetry, especially the works of Shakespeare. This literary passion shaped the Romantic sculpture of Auguste Préault, which brims with emotion, originality, and defiance. Because of this, one 19th-century critic famously said of him:

Indeed, he was deep into the spirit of the Belle Époque.

1. Tuerie, 1834

In 1834, Préault created a controversial bas-relief. This bronze piece, titled Tuerie, shocked the art world. The Paris Salon, known for its strict standards, was particularly harsh toward Romantic sculpture. In fact, Préault submitted five works that year, but only Tuerie was accepted. Jean-Pierre Cortot, a sculptor and jury member, displayed it as an example of what should not be done in sculpture.

Tuerie, which means “slaughter,” leaves little to the imagination. The figures are distorted and scream in agony. At the top left, a man appears to assault a woman, who holds a baby in one arm while choking him with the other. A knight, indifferent, stands between them. Below, a wounded man lies near another figure, emerging from the woman’s hair.

The raw emotion and disturbing subject matter likely made it unsuitable for the Salon’s more academic tastes. This rejection led to further setbacks for Préault, as none of his submissions were accepted the following year. His political involvement in the 1830 revolution didn’t help either, as it further distanced him from the conservative art community. As a result, Auguste Préault struggled to gain recognition in the market.

2. Ophelia, 1842

Like many artists of the Romantic era, Préault found great inspiration in literature. He was especially drawn to the works of William Shakespeare. One of his bas-reliefs depicts Ophelia from Shakespeare’s Hamlet. In the sculpture, Ophelia floats lifeless in the water, her eyes closed and mouth slightly parted, escaping the rigidity of death. The waves blend with the wet sheet wrapped around her, accentuating the curves of her body.

Although Préault designed this piece to resemble a funerary plaque from the Middle Ages or Renaissance, he presented it more like a painting. The work evokes a somber, poetic atmosphere, typical of Romanticism. It blends realism, movement, and deep emotion—hallmarks of the Romantic style.

3. Clémence Isaure, 1843

This sculpture is part of a series by Auguste Préault titled The Queens of France and Famous Women. It consists of 20 marble sculptures, displayed around a large pond in front of the Palais du Luxembourg. King Louis Philippe I personally selected the women to be portrayed. Préault created most of the sculptures around 1843, and they were later exhibited at the Paris Salons in 1847 and 1848. The Louvre holds a bronze version of Clémence Isaure, cast by Thiebault.

4. Silence, c. 1842

Silence, part of the sculptural work on Jacob Roblès’ tomb in Père Lachaise Cemetery, stands as a striking example of Auguste Préault’s art. The artist broke away from traditional funerary art to create a mysterious and enigmatic depiction of death. The figure’s skeletal face, shrouded in drapery with a finger placed on the lips, evokes both silence and ambiguity. While it draws on the monastic symbol of silence in cloisters, Préault leaves open the question of whether the figure is alive or dead.

When Préault exhibited a bronze version of Silence in 1849, it was praised as a key work of modern art and a symbol of Romanticism.

5. Dante, 1852

Created in 1852, this work by Préault was cast in bronze by Eck and Durand. It depicts Dante in high relief, with a medallion inscribed with the words:

“LA / VITA-NUOVA / LA / DIVINA / COMMEDIA / DANTE / ALIGHIERI / NE : A / FLORENCE / 1265 / MORT / 1321.”

The Musée d’Orsay holds Préault’s original plaster model of the piece.

6. Virgil, 1853

Auguste Préault created several bas-reliefs, many of which were medallions, a style inspired by his teacher, David d’Angers. Préault’s medallions gained widespread popularity, and he received numerous commissions for them. In 1855, he crafted a medallion of Virgil, which was highly praised by the art world. He won the Prix de Rome for this sculpture that same year. Napoléon III bought the medallion for his private collection before donating it to the Louvre in 1857. Since 1986, it has been part of the Musée d’Orsay’s collection.

7. The Arts, c. 1855–1858

This intricate composition is located on the façade of the Louvre, at the Pavillon de la Bibliothèque. It consists of two separate sculptural groups, each with three figures, representing an allegory of the arts and sciences. In the left group, an angel twirls a giant sash in a parabolic arc, symbolizing Mathematics. Beneath the angel, two cherubs look up at him—one holds a parchment scroll of Architecture across his lap, while the other plays Music on a lyre. A Theatre mask completes the scene, with the spherical astrolabe of Astronomy adorning the plinth.

In the right group, a powerful angel holds a crown, symbolizing Physics, recalling Archimedes’ famous experiment on buoyancy to test the gold content of King Hiero’s crown. The palm branch in the angel’s other hand represents Grammar, while at his feet stands a grinning cherub holding a compass, symbolizing Geometry. Beside him, another cherub with a palette and brushes represents Painting, and Sculpture is alluded to by the delicate feminine profile medallion on the plinth.

8. The Wave, 1856

This is the only surviving terracotta model by Préault. It likely represents water spirit, a popular subject in the fantasy literature of the time, which inspired the artist. The swirling water forms evoke the famous print by Hokusai, as well as the decorative elements later seen in Art Nouveau. However, it is the wild passion, exaggerated features, and the unique treatment of this decorative theme that truly remind us of Auguste Préault.

9. Venus and the Sphinx, 1868

In 1868, Préault took on a significant commission depicting a mythological subject, marking a departure from his usual themes. This plaster model represents one of the pieces, with the original located at the Palace of Fontainebleau. While French Mannerist art may have influenced Préault’s approach, a drawing he made in Rome reveals that Michelangelo‘s Creation of Adam from the Sistine Chapel ceiling directly inspired the pose of Venus in this work.

By placing deities on the backs of mythical creatures, Préault followed the traditions of antique and Renaissance art, a common practice among late 19th-century artists. However, his approach broke all conventions. The figures’ poses are tense and awkward, and their exaggerated musculature sets the piece apart, showcasing Préault’s unique interpretation.

10. Jupiter and the Sphinx, 1868

Jupiter and the Sphinx is Préault’s second monumental sculpture for the Palace of Fontainebleau, which the plaster model is shown here. Jupiter’s depiction has no direct precedent in antique iconography, making it a unique creation born from Préault’s deeply Romantic imagination. While the features of Jupiter are inspired by an ancient statue of Mausolus, carved for his tomb at Halicarnassus, the overall composition is entirely original.

The Franco-Prussian War delayed the project, and the stone versions of the sculptures were not carved and installed until 1872.