Lion Fighting a Serpent

CC0 Public Domain Designation

Painting and Sculpture of Europe

1847/55

Antoine Louis Barye (French, 1795–1875)

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Antoine Louis Barye
Title: Lion Fighting a Serpent
Place: France (Object made in)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1847–1855
Medium: Bronze
Inscriptions: Inscribed: Barye
Dimensions: 27.9 × 33 × 15.2 cm (11 × 13 × 6 in.)
Credit Line: Edward E. Ayer Endowment in memory of Charles L. Hutchinson
Reference Number: 1962.818
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/15287/manifest.json

Art Institute of Chicago, Art Institute Quarterly 58, 1 (1964), p. 9 (ill.).
Jane Van Nimmen and Ruth Mirolli, Nineteenth-Century French Sculpture: Monuments for the Middle Class (Louisville, Kentucky: J.B. Speed Art Museum, 1971), pp. 41-42, 46, fig. 4.
Stuart Pivar, The Barye Bronzes: A Catalogue Raisonne (Woodbridge, England: Antique Collectors’ Club, 1974), p. 123, cat. A38.
Glenn F. Benge, “Antoine-Louis Barye (1796–1875),” Metamorphoses in Nineteenth-Century Sculpture, edited by Jeanne L. Wasserman (Cambridge: Harvard University Press, 1975), pp. 89-107.
Jeanne L. Wasserman, Sculpture by Antoine-Louis Barye in the Collection of the Fogg Art Museum (Cambridge: Fogg Art Museum Handbooks, 1982), pp. 40-41.
Glenn F. Benge, Antoine-Louis Barye: Sculptor of Romantic Realism (University Park: Pennsylvania State University Press, 1984), pp. 119-23, fig. 110.
Elizabeth W. Harter and Laurence Palmer, “Individuality: Barye’s Aesthetic of the Particular,” in Antoine-Louis Barye: The Corcoran Collection, edited by Lilien F. Robinson and Edward J. Nygren (Washington, D.C.: Corcoran Gallery of Art, 1988), p. 18.
Édith Mannoni, Barye (Paris: Les Éditions de l’Amateur, 1996), pp. 12-13, 16-17.
Michel Poletti and Alain Richarme, Barye: Catalogue raisonné des sculptures (Paris: Gallimard, 2000), p. 177, cat. A53.
Bernard Black Gallery, Notes on the Casting Method of Antoine-Louis Barye (1796–1875).

Gerald Kerin, Ltd., London, before 1962; sold by Gerald Kerin to the Art Institute, 1962.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.