Pierre-Eugène Émile Hébert 

Bellerophon winner of the Chimaera, 1874

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Pierre-Eugène Émile Hébert 

Bellerophon winner of the Chimaera, 1874
Bronze with brown patina signed in the middle 
118 cm / 118 inch
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Description of the artwork

This Bellerophon, hero coming from Corinth, winner of many monsters, is a wonderful bronze with a composition that increases the muscle structure of the hero and Pegasus too.

Hébert dramatized the victory of Bellerophon on the Chimera. This monster with three breathed fire heads, one lion, one goat and one dragon, was the deformed daughter of Echidna and Typhon. Iobatès was asked to kill Bellerophon but didn’t want to do it directly. So he sent the hero to many dangers, hoping he met his death. That was the reason why Bellerophon, helpt by Athena who tamed Pegasus with magic bridles, went into the fight against Chimera.

But despite of Pegasus’ speed, Bellerophon didn’t succeed in killing Chimera. The hero returned to Athena who informed him to drive his sword in a lead block. Bellerophon did this and when he plunged his sword into Chimera’s mouth, the monster breathed fire and the lead burned inside of it. So Pegasus moved aside at the monster died.

Biography of Pierre-Eugène Émile Hébert 

Studying with his father, the sculptor Pierre Hébert, and Jean-Jacques Feuchère, Emile Hébert started his artistic career with public comissions, conventional busts and allegories reflecting the eclecticism of his time. He was active from the Second Empire to the beginning of the Third French Republic.

One of the most representative commission was destined to the the Vaudeville Theater in Paris, for which he made two allegorical statues in stone :"Comedy" and "Drama".

Emile Hébert took part in the Salon of French Artists in Paris between 1846 and 1893, exhibiting bronze sculptures. In 1859, he exhibited "And always !! And never !!", that will strongly influenced Baudelaire who was admiring the sculptor’s ability to transcend materiality and to represent emptiness. This sculpture showed a particular side of the artist. Indeed, Hébert had a fascination for morbid subjects, a taste influence by the romantic sculptors.

He also exhibited at the 1855’s Paris’ Universal Exhibition, where he showed a statue "Young girl saving a bee".

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