(The Root) — This image is part of a weekly series that The Root is presenting in conjunction with the Image of the Black in Western Art Archive at Harvard University’s W.E.B. Du Bois Institute for African and African American Research.
A young black woman, her face timeless yet somehow familiar, looks down with a sideways glance, her lips parted in a faint smile. Her subtly animated face seems to move freely between reverie and bemusement, as if her gaze has just fallen on some particular point of engagement. Though her features are broadly treated, the head projects a penetrating effect of realism. We have before us the image of an actual though anonymous person, modeled from life by the great 18th-century French sculptor Jean-Antoine Houdon in his Paris studio.
The piece was originally conceived as a bust and once extended below the neck to include the woman’s bare shoulders, upper arms and breasts. During World War I it was reduced to its present form when the museum that was housing it was hit by German artillery fire. It is essentially a fragment of a fragment, an indirect survivor of one of Houdon’s most ambitious explorations of the sculptural medium.
The bust itself is derived from the full-length figure of a black woman produced as part of the remarkable centerpiece of a garden fountain. Houdon had originally conceived the work as a royal commission in 1779, but when the arts commissioner of Louis XVI rejected it, the fountain was bought and set up in a sort of fashionable urban theme park near Paris created by the king’s cousin Philippe, the future duke of Orleans.
Set within a basin surrounded by three steps, Figure of a Negress, cast in lead and painted black, poured water from a gilded jug over a seated nude woman carved from white marble. The black woman was presented as a bathing attendant, perhaps in the fanciful Turkish mode popular at the time. Sculptors had worked in variously colored materials before and had even represented black figures in dark stone, but the effect here must have been unique in its exploitation of delicate form and contrasting skin colors.
A telling play of opposites is set in motion by Houdon’s innovative treatment of the subject: the formal distinction between the black and white races, the social and legal disparity between mistress and servant, and the contrasting postures of active labor and its passive reception.
Regrettably, the intriguing garden feature did not survive the French Revolution, when it was dismembered in reaction to the perceived frivolities of noble-class taste. Houdon produced the now-truncated bust a few years after the fountain was installed. He exhibited it as an independent work at the prestigious annual Paris Salon in 1781. A bronze copy that one of his pupils made later on preserves its original state.