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Antoine-Félix Bouré (8 July 1831 – 8 April 1883〔Edmond Marchal, ''La sculpture et les chefs-d'œuvre de l'orfèvrerie belges'' (Brussels, 1895), p. 696. Information in this article not otherwise cited comes from Marchal.〕), known in his own time as Félix Bouré but sometimes found in modern scholarship as Antoine Bouré,〔Bouré signed himself as ''Ant. Félix Bouré'' on at least two of his works, ''L'enfant au lézard'' and the pair of lions known as ''Totor et Tutur''. The critic Camille Lemonnier, who knew him personally through the Société Libre des Beaux-Arts, calls him "Félix Bouré."〕 was a Belgian sculptor, best known for his monumental lions. ==Life and career== Bouré was born in Brussels as the Belgian war of independence was drawing to a close. He studied locally first under Guillaume Geefs〔A.J. Wauters, ''Catalogue illustré de l'Exposition rétrospective de l'art belge organisée par la Societé Royale des Beaux-Arts de Bruxelles'' (Brussels, 1905), p. 11; Marchal, p. 687.〕 and then from 1846 to 1852〔Arto Dictionnaire, "Bouré, Antoine-Félix," (biography. )〕 under Eugène Simonis at the Royal Academy for Fine Art, going abroad to complete his training at the Academy of Fine Arts at Florence. In his studies, he followed the same course as his older brother, Paul Bouré. Paul died in his mid-twenties when Antoine-Félix was only 17.〔Marchal, pp. 696.〕 Bouré was among the artists whose work was exhibited at the Musée Bovie, a ''grand maison'' built by the painter Virginie Bovie on the Rue de Trône, Brussels.〔Anne-Marie ten Bokum, ''Art&fact: Revue des historiens de l'art, des archéologues, des musicologues et des orientalistes de l'Université de Liège'' 24 (2005), (retrieved ) 25 July 2010.〕 In 1868, he was one of sixteen co-founders of the Société Libre des Beaux-Arts,〔Arto Dictionnaire, "Bouré, Antoine-Félix," (biography. )〕 an avant-garde society that provided exhibition space alternative to that of the official Salon in Belgium. The manifesto of the society espoused the Realist principle of "free and individual interpretation of nature" along with avant-gardist ideals of "struggle, change, freedom, progress, originality and tolerance" that were inspired by Courbet and Baudelaire. "Modernity" and "sincerity" were keywords. By 1875 the Salon had come to accept and then coopt the Realist program, at which time the society disbanded.〔Julius Kaplan, entry on "Société Libre des Beaux Arts," ''The Grove Dictionary of Art: From Renaissance to Impressionism'' (St. Martin's Press, 2000), p. 343 (online ); Arto, Aperçus historiques, "La Société Libre des Beaux-Arts," (retrieved ) 25 July 2010.〕 Bouré was a friend of Auguste Rodin, who worked on a number of projects in Brussels throughout the 1870s.〔Paul Verbraeken, "Histoire de la sculpture en Belgique," ( ArtQuid. )〕 In 1877, Bouré was one of two Belgian sculptors who offered testimony on behalf of the 36-year-old Rodin during a controversy over ''The Vanquished'', a life-sized male nude modeled after a Belgian soldier that was later retitled ''The Age of Bronze''. Rodin had been accused of assembling the work from plaster casts rather than modeling it from life; Bouré confirmed Rodin's work methods from his own observations in the studio.〔The Rodin-Web, in cooperation with the Musée Rodin, Rodin Nude Photo Project, "Rodin Works: The Age of Bronze (''The Conquered One, The Vanquished''), ( retrieved ) 23 July 2010; Catherine Lampert, ''Rodin: Sculpture and Drawings'' (Yale University Press, 1987), p. 22 (online. ) Lampert describes Bouré's efforts as "letters of support." The other Belgian sculptor was Gustave Biot.〕 Bouré's sculptures were considered remarkable for their combination of grace and power.〔"Remarquable en même temps par la grâce et par la force": Marchal, p. 697.〕 The critic Camille Lemonnier, a fellow member of the Sociéte Libre, praised him for "sincerity", one of the ideals prized by their group.〔Assuming Lemonnier is the ''L.'' who wrote "Correspondance de Belgique," ''La Chronique des arts et de la curiosité'' (Paris, 1883), p. 128, a publication to which he was a major contributor.〕 Bouré showed work at the Exposition Universelle de Paris in the years 1867 and 1878, and at numerous salons in Belgium and abroad.〔Arto Dictionnaire, "Bouré, Antoine-Félix," (biography. )〕 He earned medals at exhibitions in Brussels, Paris, and Philadelphia.〔Clovis Lamarre, ''La Belgique et l'Exposition de 1878'' (Paris, 1878), p. 192 (online ); Marchal, p. 696.〕 Bouré was awarded the Order of Leopold, either as a ''chevalier'' (knight)〔Lamarre, ''La Belgique et l'exposition de 1878'', p. 192.〕 or ''officier''.〔Marchal, p. 697.〕 He died at Ixelles in 1883 in what was marked as the prime of his life, and was buried next to his brother.〔''Après trente ans de séparation, la mort les réunit sous la même pierre. … il est frappé dans la maturité de l'âge,'' as expressed by ''L.'' (Lemonnier), "Correspondance de Belgique," ''La Chronique des arts et de la curiosité'' (Paris, 1883), p. 128 (online. )〕 In ''L'Art moderne'', he was eulogized jointly with the octogenarian Geefs to the detriment of his former teacher, whom the anonymous writer accused of "inundating the country with pathetic vulgarities": Bouré, the writer said, "produced little, but all of it fine."〔''L'Art moderne'' 15 (April 1883), p. 119 (online. )〕 ''La rue Félix Bouré'' (or just ''la rue Bouré'') in Ixelles is named for him.〔"À la découverte de l'historie d'Ixelles," (p. 17 ); "Rue Félix Bovie (Félix Boviestraat) – Ixelles (1050 Bruxelles)," (ebru. ) When it was opened in 1860, during Bouré's lifetime, the street was called ''rue de la Santé''.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Antoine-Félix Bouré」の詳細全文を読む スポンサード リンク
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