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French school, second half of the 18th century."Allegory of time".Bronze and marble base on wooden
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Beschreibung
French school, second half of the 18th century.
"Allegory of time".
Bronze and marble base on wooden base.
Measurements: 30 x 25 x 11.5 cm.
A large rectangular wooden base, on which there is a smaller marble base, gives way to a sculpture which stands out for its gracefulness and movement. The author presents us with a male figure as the protagonist of the work, whose contraposto posture leaves one of his legs raised as if he were fighting against a wind that makes a cloth flutter, covering his sex and even his beard slightly. This finish shows us the mastery of the author, who achieves a great lightness in the sculpture through the use of a heavy material. Standing in profile to the viewer, the man turns his face towards the viewer. He stands before the viewer almost naked, with wings on his back and holding a goblet and a scythe in his left hand. These attributes make it clear that this is a representation of death, who with his scythe ends the lives of human beings and with his wings transports them to their destiny. The author conceives death in a regal and sober manner, as he presents us with the image of a mature man with a muscular body.
A notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although it is not a feature of the choice of the main themes, indicates the degree and taste of decorativism in the painting of the time. Allegorical sculptures emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a specific personage, such as kings or well-known personalities. In fact, during Neoclassicism, this trend came back into vogue.
Bronze sculptures of this type became widely popular in 18th century France. The entry of a wealthy bourgeoisie and the enrichment of these families led to an interest in art as a way of belonging to the cultural elite of their respective cities. As a result, there was a proliferation in the consumption of decorative elements that gave a good indication of the status and social class to which they belonged.
"Allegory of time".
Bronze and marble base on wooden base.
Measurements: 30 x 25 x 11.5 cm.
A large rectangular wooden base, on which there is a smaller marble base, gives way to a sculpture which stands out for its gracefulness and movement. The author presents us with a male figure as the protagonist of the work, whose contraposto posture leaves one of his legs raised as if he were fighting against a wind that makes a cloth flutter, covering his sex and even his beard slightly. This finish shows us the mastery of the author, who achieves a great lightness in the sculpture through the use of a heavy material. Standing in profile to the viewer, the man turns his face towards the viewer. He stands before the viewer almost naked, with wings on his back and holding a goblet and a scythe in his left hand. These attributes make it clear that this is a representation of death, who with his scythe ends the lives of human beings and with his wings transports them to their destiny. The author conceives death in a regal and sober manner, as he presents us with the image of a mature man with a muscular body.
A notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although it is not a feature of the choice of the main themes, indicates the degree and taste of decorativism in the painting of the time. Allegorical sculptures emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a specific personage, such as kings or well-known personalities. In fact, during Neoclassicism, this trend came back into vogue.
Bronze sculptures of this type became widely popular in 18th century France. The entry of a wealthy bourgeoisie and the enrichment of these families led to an interest in art as a way of belonging to the cultural elite of their respective cities. As a result, there was a proliferation in the consumption of decorative elements that gave a good indication of the status and social class to which they belonged.
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French school, second half of the 18th century.
"Allegory of time".
Bronze and marble base on wooden base.
Measurements: 30 x 25 x 11.5 cm.
A large rectangular wooden base, on which there is a smaller marble base, gives way to a sculpture which stands out for its gracefulness and movement. The author presents us with a male figure as the protagonist of the work, whose contraposto posture leaves one of his legs raised as if he were fighting against a wind that makes a cloth flutter, covering his sex and even his beard slightly. This finish shows us the mastery of the author, who achieves a great lightness in the sculpture through the use of a heavy material. Standing in profile to the viewer, the man turns his face towards the viewer. He stands before the viewer almost naked, with wings on his back and holding a goblet and a scythe in his left hand. These attributes make it clear that this is a representation of death, who with his scythe ends the lives of human beings and with his wings transports them to their destiny. The author conceives death in a regal and sober manner, as he presents us with the image of a mature man with a muscular body.
A notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although it is not a feature of the choice of the main themes, indicates the degree and taste of decorativism in the painting of the time. Allegorical sculptures emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a specific personage, such as kings or well-known personalities. In fact, during Neoclassicism, this trend came back into vogue.
Bronze sculptures of this type became widely popular in 18th century France. The entry of a wealthy bourgeoisie and the enrichment of these families led to an interest in art as a way of belonging to the cultural elite of their respective cities. As a result, there was a proliferation in the consumption of decorative elements that gave a good indication of the status and social class to which they belonged.
"Allegory of time".
Bronze and marble base on wooden base.
Measurements: 30 x 25 x 11.5 cm.
A large rectangular wooden base, on which there is a smaller marble base, gives way to a sculpture which stands out for its gracefulness and movement. The author presents us with a male figure as the protagonist of the work, whose contraposto posture leaves one of his legs raised as if he were fighting against a wind that makes a cloth flutter, covering his sex and even his beard slightly. This finish shows us the mastery of the author, who achieves a great lightness in the sculpture through the use of a heavy material. Standing in profile to the viewer, the man turns his face towards the viewer. He stands before the viewer almost naked, with wings on his back and holding a goblet and a scythe in his left hand. These attributes make it clear that this is a representation of death, who with his scythe ends the lives of human beings and with his wings transports them to their destiny. The author conceives death in a regal and sober manner, as he presents us with the image of a mature man with a muscular body.
A notable element is to be found in the choice of subject matter: the choice of two little angels, whose conception can be related to the classical tradition, although it is not a feature of the choice of the main themes, indicates the degree and taste of decorativism in the painting of the time. Allegorical sculptures emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a specific personage, such as kings or well-known personalities. In fact, during Neoclassicism, this trend came back into vogue.
Bronze sculptures of this type became widely popular in 18th century France. The entry of a wealthy bourgeoisie and the enrichment of these families led to an interest in art as a way of belonging to the cultural elite of their respective cities. As a result, there was a proliferation in the consumption of decorative elements that gave a good indication of the status and social class to which they belonged.
6th April - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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