Psyche under the influence of the mystery at The Petit Palais, Paris

Hélène Bertaux, born Josephine Charlotte Hélène Pilate (Paris July 4, 1825 - Saint-Michel-de-Chavaignes April 20, 1909) was a sculptor and activist of women's rights during the second half of the nineteenth century . In the second half of the nineteenth century, especially in the field of art, women were often considered by male artists like inspiring muses and models but not as recognized as artists- with a few exceptions, such as Artemisia Gentileschi, painter of the seventeenth century or Rosa Bonheur, Contemporary Hélène Bertaux. At that time, the Academy of Fine Arts held negative stereotypes about their ability to produce quality works of art as they were still deeply rooted in society . Given the difficulties facing women who wanted to destine to sculpture, Hélène Bertaux decided to open a workshop of drawing and modeling in 1873 and a sculpture of school for women in 1880 . She went on to create the Union of Women Painters and Sculptors in December 1881 which was soon recognized as an association of public utility, and became its first president until 1894. She exhibited regularly at the annual Salon and received numerous commissions. In 1864, her work was finally recognized by her male peers as she received an order from a large pediment (The navigation) for the new facade of the Tuileries, followed in 1878 of a second gable to the court of the Carrousel du Louvre (La Legislation). The same year, she became incredibly very successful with her sculpture 'young daughter in the bath'. The dedication comes at the Paris Universal Exhibition of 1889 , where she received a first class gold medal for her Psycheplaster under the influence of the mystery . In 1894, she left the Union of Women Painters and Sculptors, to devote herself entirely to her dream: to benefit the women of quality and free education of the National School of Fine Arts in Paris . Through its engagement and his determination, women were finally admitted in 1897 (fully in 1900) and participated in the contest prize of Rome from 1903. Alongside this struggle, she continued to carve, continuing to work at the Salon in 1900 (at age 75). This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email [e-mail] to find out how you can help.埃莱娜·贝尔托（Hélène Bertaux），原名约瑟菲娜·夏洛特·埃莱娜·皮拉特（Josephine Charlotte Hélène Pilate），1825年7月4日生于巴黎，1909年4月20日逝于沙瓦涅的圣米歇尔，是19世纪后半叶的雕塑家与女权活动家。 19世纪后半叶，尤其在艺术领域，女性常被男性艺术家视为激发创作灵感的缪斯与模特，而非受认可的创作者——仅存少数例外，如17世纪画家阿尔泰米西娅·真蒂莱斯基（Artemisia Gentileschi），以及与埃莱娜同时代的罗莎·博纳尔（Rosa Bonheur）。当时的美术学院（Academy of Fine Arts）仍深受社会固有观念束缚，对女性创作优质艺术作品的能力抱有负面刻板印象。 鉴于有志投身雕塑领域的女性所面临的诸多困境，埃莱娜·贝尔托于1873年开设绘画与造型工作室，并于1880年创办女子雕塑学校。1881年12月，她创立女性画家与雕塑家联盟（Union of Women Painters and Sculptors），该组织很快被认定为公益社团，她也出任该联盟首任主席直至1894年。 她定期于年度沙龙（Salon）参展，并斩获大量艺术委托订单。1864年，她的作品终于获得男性同行的认可：接到为杜乐丽宫（Tuileries）新立面创作大型山墙雕刻《航海》（The Navigation）的订单；1878年，又接到为卢浮宫卡鲁塞尔庭院创作第二座山墙雕刻《立法》（La Legislation）的委托。同年，她的雕塑作品《浴中少女》大获成功。 1889年巴黎世界博览会（Paris Universal Exhibition of 1889）成为其创作生涯的高光时刻：她凭借受神秘主义启发的石膏雕塑《普赛克》（Psycheplaster）斩获一等奖章。 1894年，她辞去女性画家与雕塑家联盟的职务，全身心投入自己的理想：推动巴黎国立高等美术学院（National School of Fine Arts in Paris）为女性提供优质且免费的教育。凭借不懈的努力与坚定的决心，女性终于在1897年获准入学，并于1900年实现全面入学；自1903年起，女性得以参与罗马大奖（Prize of Rome）的角逐。在投身平权运动的同时，她并未放弃雕刻创作，75岁高龄的她仍于1900年参展年度沙龙。 本作品属于“扫描世界”（Scan The World）项目。“扫描世界”是MyMiniFactory推出的非营利性倡议，旨在打造全球范围内可3D打印的雕塑、艺术品与地标建筑的数字档案库，供公众免费获取。该项目为开源社区协作项目，若您身边有颇具价值的藏品并希望参与贡献，可发送邮件至[e-mail]了解参与方式。