Albert-Ernest Carrier-Belleuse was both a French designer and one of the most prolific, versatile and significant sculptors of the 19th century. He was apprenticed at age 13 to a goldsmith and studied at both the Ecole des Beaux-Arts in 1840 under Pierre-Jean David d’Angers and at the Petit Ecole where he concentrated on the decorative arts. He worked in London from 1850 to 1855, designing ceramics and metalwork models. When he returned to Paris, he regularly exhibited large scale sculptures at the Salon where he consistently received medals and important commissions. His first important success was in 1863 when the Emperor Napoleon III bought the life-size marble Bacchante with a Herm of Dionysus and then hired him to work on the rebuilding of Paris. During his lifetime Carrier-Belleuse produced portrait busts, public monuments, religious statuary and idealized works. He took full advantage of the commercial opportunities afforded him by the mass production of small-scale sculpture and decorative wares. His work reflected an extensive range of different styles. His male portraits were strikingly realistic, while his female nude sculptures were sensuous and baroque in their portrayal of historical and mythological themes that are typical of the opulent Second Empire period. He signed his works A. Carrier until c.1868 when he adopted the name Carrier-Belleuse.
Carrier-Belleuse maintained one of the largest ateliers in France in order to keep up with all his commissions and activities. Some of the leading sculptors of the next generation, including Auguste Rodin, Jules Dalou and Alexandre Falguière, learned from the master to appreciate the value of the applied arts as well as the benefits to be derived from working in series, editions and variations on a sculptural theme as in his female nudes.
Somewhat subdued in decoration compared to many of his other models, motifs that set him apart from his predecessors, Carreir Belleuse has simplified much of the presentation of Le Printemps’. Modeled with a simple fringe and minimal floral motif, a hint at the eponymous title, her gown hangs loosely over one shoulder and the face, with a demure downcast visage and heavy eyelids, is devoid of distracting expression. Carrier Belleuse saves the focus of attention on the lavishly modeled hair, piled high in interlocking ringlets and interwoven with flowers. His assured modeling is on full display here, rivaling that of the eighteenth-century masters.
Often when sculptors use a female form to represent a season such as Spring, it follows that he also did the rest of the seasons. And this work is certainly part of a group of four works representing the four seasons. Carrier-Belleuse was certainly noted for doing figurative work that could be alive and expressive. This suite of four works possibly executed prior to 1883.