Henry Ernest Anaclet Parayre (1879–1970) was a French sculptor whose work left a lasting imprint on early 20th-century art, particularly in the Toulouse region. Born in Toulouse on July 9, 1879, Parayre experienced a difficult childhood, losing his mother at a young age and being raised by his grandparents. His grandfather, Hugues Parayre, a skilled chair-maker, introduced him to the art of wood carving, laying the foundation for his future in sculpture. Showing early artistic promise, Parayre enrolled in evening classes at the École des Beaux-Arts de Toulouse, where he studied under Jean Rivière, refining his skills in traditional sculptural techniques.

Determined to pursue his passion, he moved to Paris in 1900 to study under Paul Dubois at the École des Beaux-Arts. To support himself during this period, he worked in furniture manufacturing and contributed to the decorative elements of the Grand Palais, an experience that would later inform his expertise in applied arts. In 1905, Parayre settled in Béziers, where he married Jeanne Duprat and collaborated with his father-in-law’s funerary monument business, producing busts and bas-reliefs. This period marked the beginning of his career as a professional sculptor, though he remained deeply interested in teaching. By 1907, he returned to Toulouse, where he became a foreman in the wood arts workshop at the École des Beaux-Arts, mentoring young artisans while continuing his personal sculptural pursuits.

Parayre’s artistic legacy is defined by his mastery of form and his ability to blend classical influences with modernist aesthetics. His notable works include the Monument to Jean Jaurès (1929), originally displayed in Place du Capitole in Toulouse before being tragically destroyed during World War II, leaving only the head intact. That same year, he completed the Monument to Paul Lacombe in Carcassonne, honoring the composer’s contributions to music. In 1933, Parayre designed two significant fountains for Toulouse’s municipal library: La Jeune Littérature and La Littérature Classique, symbolizing the evolution of literary traditions. A year later, he sculpted La Femme et l’Enfant for the Toulouse municipal swimming pool, further establishing his reputation as a sculptor whose works graced the city’s public spaces.

Throughout his career, Parayre’s sculptures were admired for their expressive yet restrained style, blending naturalistic representation with a sensitivity to volume and space. His works are housed in the Musée Denys-Puech in Rodez and the Musée du Vieux Toulouse, where they remain a testament to his artistic vision. Beyond his sculptural achievements, Parayre played a pivotal role in art education and the promotion of applied arts in Toulouse, mentoring a new generation of sculptors and artisans.

His death in 1970 marked the end of a life dedicated to artistic excellence and education, yet his influence endures. Through his public monuments, his devotion to craftsmanship, and his impact on students, Henry Parayre remains an integral figure in the artistic heritage of southern France.