Alfred Barye was born in Paris, France, on 21 January 1839,^[1] the son of Antoine-Louis Barye. He learned his craft of animalier sculptor under the watchful eye of his father who was one of the original pioneers of animal sculpture in the mid-to-late 19th century. The younger Barye didn't always get along with his father; there were times when the two of them were not on speaking terms because until instructed not to do so, Barye was signing some of his bronzes as "A. Barye" which the senior Barye objected to because it created confusion as to which Barye, father or son, created the sculpture.^[2]

He specialized in the animalier school in the production of bronze sculptures. Although a fine artist in his own right, he struggled to create his own identity living in the shadow of his more famous father. The vast majority of his pieces are signed "A. Barye, fils" while some are marked "Barye" or "A. Barye" which created some confusion – intentional or not – with those of his father.^[1] The majority of the sculptures leaving the Barye foundry were sand castings^[2] rather than lost-wax castings. Alfred Barye typically used mid-brown patinas but would sometimes add green^[3] (a color famously used by his father) and auburn-colored hues in the patination process.^[3] Any Barye bronze – by father or son – will generally have an exquisite patina. Antoine-Louis was particularly finicky with his patinas and would not allow other foundries to apply them, preferring to do it himself for appearance and quality control purposes.^[1] Alfred, too, would not let a sculpture leave his workshop without a perfectly applied and visually pleasing patina.

Alfred Barye did a production of bronze sculptures and focused his attention on race horses or horses on the move. Some of his well-known bronzes are The Arab Warrior Knight on Horseback (1890–1910, made in Paris, height 87 cm, width 61 cm, depth 30 cm, bronze).

Barye died in Paris in 1882. He is known for the precision detail in his bronze sculptures, as shown in the pheasant sculpture (pictured right).^[1] Barye was known for great attention to detail on his bronzes. He produced a number of bird sculptures as well as genre figures.^[1] He received "honourable mention" honors in the 1897 Salon for the work Aide Fauconnier Indien, Retour de Chasse à la Gazelle. Alfred Barye's final submission at the Salon de Louvre was in 1882.^[1]

His bronzes are now in many museums collections:

• Louvre Museum, Paris
• Musée d'Orsay, Paris
• Brooklyn Museum, New York City
• Fogg Museum, Harvard Art Museums, Cambridge, Massachusetts
• Busch–Reisinger Museum, Harvard Art Museums, Cambridge, Massachusetts
• Arthur M. Sackler Museum, Harvard Art Museums, Cambridge, Massachusetts
• São Paulo Museum of Modern Art, Brasil
• The Israel Museum, Jerusalem, Israel

Alfred Barye did several exhibitions in Paris from 1864 to 1882.

• The Salon de Louvre Museum, Paris, 1864 through 1882
• The racehorse Sir Walter Scott, 1865
• Italian jester, 1882

• Equestrian statue
• Antoine-Louis Barye, the father
• Émile-Coriolan Guillemin
• Animalier
• Belle Époque

• "Antique Arabian Horse Sculptures", part II, Judith Wich-Wenning, Tutto Arabi Magazine, p.174-176, www.tuttoarabi.com (in English)
• A patinated bronze figure of a horse in the manner of Alfred Louis Barye late 19th century height 23 3/4 in. 60.5 cm, Paris. The model is closely related to the celebrated Cheval Turc created by the master French animalier in 1857, price realized 6,250 USD, 22 October 2014, Sothebys New York (in English)
• Rhinoceros, bronze, rich green and brown patina, 9.7 by 14.9cm., 3¾ by 6in., price realized 7000 GBP, 04 December 2013, Sothebys London (in English)
• Alfred Barye in American public collections, on the French Sculpture Census website