Renowned for neoclassical elegance and monumental works.

Born in 1817 in Herentals, Fraikin began taking drawing lessons at a young age in Antwerp, followed by painting studies in Brussels. But after the death of his father in 1833, at only sixteen, he was left without means. To support himself, he entered the service of pharmacists (first Van Tilborg, then M. de Hemptinne, pharmacist to the King), where he made use of his knowledge of Latin. At the same time, his passion for art remained undiminished. Deeply impressed by the works of Guillaume Geefs, he decided to abandon the pharmaceutical path. Supported by benefactors, he joined the studio of Pieter Puyenbroeck in 1836, then studied at the Brussels Academy (1840–1842), where he perfected his sculptural skills.

As early as 1839, he exhibited at the Brussels Salon (Young Girl Picking Flowers). In 1845, he won the gold medal for Captive Cupid, acquired by the Royal Museum of Fine Arts and later exhibited at the Hermitage in St. Petersburg. His success opened the way to numerous public commissions. He worked in marble and bronze, but also experimented with modern materials such as thermoplastic.

In 1888, he donated 94 sculptures to his native city, which founded the Fraikin Museum. He personally oversaw its installation. At his death in 1893, he was celebrated as one of the leading figures of 19th-century Belgian sculpture.

Some of his Key Works and Commissions : Statues for the façade of the Brussels Town Hall, Fountain dedicated to Mayor Rouppe, Funerary monument for Queen Louise-Marie, Figures of Egmont and Hornes (Congress Column), Bust of Adolphe Quetelet (gardens of the Academy).

He received several Distinctions and Honors : Medal of Honor, Paris Salon (1845), Legion of Honor (France), Commander of the Order of Leopold, Member of numerous academies: Brussels, Antwerp, Vienna, Florence, Dallas, and others

Literature :

• Dictionnaire biographique illustré des Artistes en Belgique depuis 1830, Ed. Arto, 1987, p. 169. 

• BENEZIT, E. Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs.Paris: Librairie Gründ, 1951, Tome 4, p. 42. 

• BIJL. F. (2019). In Dialoog met de Kunstenaar. [Exhibition Catalogue] Art Center Hugo Voeten. 

• DOOD, J. (1864). Inauguration Des Statues des comtes d’Egmont et de Hornes. Le Courrier artistique : beauxarts, expositions, musique, théâtre, arts industriels, ventes.Paris, pp. 117-118. 

• DOOD, J. (1865). FRAIKIN. Le Courrier artistique : beauxarts, expositions, musique, théâtre, arts industriels, ventes.Paris, p. 123. 

• ENGELEN, C. MARX, M. La Sculpture en Belgique à partir de 1830, Louvain : Engelen – Marx, 2006. Tome III, p. 1550-1557. 

• FRAIKIN, C-A. (1893). [Catalogue] Museum Fraikin. Herentals. – JOUIN, H. (1879). La sculpture en Europe 1878.Paris: E. Plon et Cie, p.159. 

• LENNEP, J. La Sculpture au 19ème siècle, Vol 1, Ed. Général de banque et les auteurs, 1990, p. 399-401. – MARCHAL, E. (1900). Notice par le chevalier Edmond Marchal. In: Annuaire de 1900. Brussels:p.381-418. 

• PIRON, P. De Belgische Beeldende Kunstenaars uit de 19de en 20ste eeuw. Brussel: Art In Belgium, 1999. Vol A-K. p. 567. 

• THIEME, U. BECKER, F. Allgemeines lexicon der bildenden künstler von der antike bis zur gegenwart. Germany: E.A. Seemann. 1999. Vol. 11/12. p. 278.

• TUBEX. F. [Article] Fraikin Genootschap. Henrentals.