Trained in artistic circles still largely closed to women, Poupelet attended ground-breaking courses at the Beaux-Arts in Bordeaux, then studied briefly at the more conservative Académie Julian in Paris, before refining her style under the direction of the sculptor Lucien Schnegg. She began her career under the male pseudonym Simon de la Vergne (1899–1901). She initially produced single copies of small figures that she plunged in bronze but chased and patinated herself—at the time an uncommon practice. Her best-known works today are her female nudes. With full, sensual forms (she rebelled against the damaging effects of the corset), her figures are simply posed but of accurate and precise anatomical structure and with an austere charm that accords with her admiration for the ancient statuary in Naples and the recommendations of Lucien Schnegg to return to the Greek axiom of “architectural cadences”, i.e. the basing of the proportions of the human body on the proportions of architecture. (http://www.awarewomenartists.com/en/artist/jane-poupelet/) Poupelet first studied at the Ecole des Beaux-Arts in Bordeaux while following the anatomy courses in medical school. She then briefly studied in 1896 at the Académie Jullian in Paris, but she was displeased with its methods. In 1900, she met Lucien Schnegg: she thus became part of the bande à Schnegg, and the only woman of the group. She liked working in the country and her art, characterized by a very intimist tone, focused on animals. The National Society of Fine Arts offered her a grant after seeing her work displayed at the Salon: she spent the money she thus received on a trip to the countries surrounding the Mediterranean Sea in 1904. That same year, she took part in the first exhibition of the bande à Schnegg, entitled Some.... Her most celebrated works were the 1906 Ass’ Foal, The Cow, the 1908 Woman at Bath.. (http://www.galerie-malaquais.com/POUPELET-Jane-DesktopDefault.aspx?tabid=45&tabindex=44&artistid=19564) undefined

More on Google