French Sculpture Census

crédits photo :, July 28, 2011
© artiste : public domain

CHAUDET, Antoine-Denis
Paris 1763 - Paris 1810

Bélisaire et son guide
Belisarius and his Guide

bronze, sur base en bronze doré avec mécanisme de rotation

47,5 x 36,6
signé et inscrit sur le bord gauche du support: DATE OBOLOM / BELLISARIO [sic; devrait être: date obolum Belisario, ou "donnez l'obole à Belisaire"] / f.chaudet L.2e. [an II de la Révolution, i.e. 22 septembre 1793- 21 septembre 1794]

N° d'inv. : 2004.113a, b
Credit Line : Rogers Fund and Edith Perry Chapman Fund, 2004

New York, New York, The Metropolitan Museum of Art


  • 18-25 avril 1803, Paris, Mont-de-Piété, vente, no. 331, vendu pour 1,630 francs
  • 10 décembre 1917, Paris, Galerie Lebrun, vendu, no. 136, probablement au peintre Alexis-Nicolas Pérignon
  • 1968, Châtillon-sous-Bagneux, collection Edmond Courty
  • 18 octobre 2002, Paris, Hôtel Drouot, sa vente, no. 47
  • Charles Janoray LLC, vendu au Metropolitan Museum
  • 2004, Fonds Rogers and Fonds Edith Perry Chapman


  • 1968 New York
    The French Bronze 1500 to 1800, New York, M. Knoedler & Co., 6-27 November 1968, entry by Jacques Fischer
  • 2003 New York
    Chaudet's Belisarius: an example of virtue, New York, Charles Janoray LLC, 15 September-7 November 2003, catalog
  • 2008-2009 Paris
    Bronzes français. De la Renaissance au siècle des Lumières, Paris, Musée du Louvre, 24 October 2008-19 January 2009, catalog
  • 2009 New York/Los Angeles
    Cast in Bronze: French Sculpture from Renaissance to Revolution, New York, Metropolitan Museum of Art, 23 February-24 May 2009; Los Angeles, J. Paul Getty Museum, 30 June-7 September 2009, catalog (same as the Louvre), cat. no. 143


Museum's website, July 28, 2011:
The popularity of the victorious sixth-century Byzantine general Belisarius aroused the jealous wrath of his emperor Justinian to the point that he had Belisarius imprisoned, then blinded and turned loose to beg for his living. Antiroyalist elements in French society found parallels in the court of Louis XVI, which was coming under increased criticism. When the terracotta model for this group was exhibited at the Salon of 1791, the sentimental Neoclassical public surely relished its pathos and the contrast between the forms of the sightless but ever-proud mendicant and his weary young guide. The quality of the bronze's chasing led early commentators to suppose Chaudet carried it out himself, but more likely he turned to a professional foundry for the expertise needed to give the metal its dazzling range of surfaces. The Neoclassical age sometimes had unexpected kinetic moments: fitted within the unpatinated base is the original turntable on which the group can be revolved so as to be appreciated from every angle.