"Ibrahim, thoroughbred horse", by Pierre-Jules Mêne
France, circa 1850

Small statuette of a greyhound in plaster, by Pierre-Jules Mêne
France, circa 1850

Workshop plaster of a greyhound, by Pierre-Jules Mêne
France, circa 1850

"Two greyhounds playing with a ball", studio plaster, by Pierre-Jules Mêne
France

"Grazing goat", studio plaster, by Pierre-Jules Mêne
Paris, France, circa 1844

"Standing Sheep", studio plaster, by Pierre-Jules Mêne
France

Cow and calf, studio plaster, by Pierre-Jules Mêne
France, circa 1850

Biography

Pierre-Jules Mêne, France (1810 – 1879)

French sculptor.

Son of a copper turner, Pierre-Jules Mêne was born in the popular district of Faubourg-Saint-Antoine. In 1822, the family moved to 12, rue du Vertbois, in the Temple district, where the father, having registered with the Meeting of Bronze Manufacturers, created a workshop specializing in chandeliers and the making of torches. Introduced to metal working at a very young age, Pierre-Jules initially collaborated in his father’s business with his brothers and his father. Of artistic temperament, he began to practice drawing very early and collected engravings and drawings, with a particular predilection for the painter Horace Vernet whose style he appreciated and knew his work to perfection. He married in 1832 with Hortense-Caroline Monnereau who remained his companion throughout his life. From then on he left his father’s workshop and sought to live from his art: sculpture. In order to live, he must practice trades that are not very related to his vocation while continuing his artistic training with the wood sculptor René Compaire. He made his debut at the Salon in 1838 and he exhibited until 1879 and quickly became popular. Taking advantage of the animal vogue initiated by Barye and Fratin, he was able to make a place for himself by exploring almost exclusively the fields of hunting and horse racing, and his commercial success was undoubtedly more brilliant than that of his colleagues. Like Barye, Mêne opened his own foundry in 1837 to publish his works and, later, those of his son-in-law, the sculptor Auguste Cain. He takes care himself, with great care, of the casting and the chasing.