Showing posts with label écorché. Show all posts
Showing posts with label écorché. Show all posts

Sunday, June 22, 2025

Little Bronzes

Etruscan Culture
Laran (war god)
540-520 BC
bronze votive statuette
Rijksmuseum van Oudheden, Leiden

Donatello
Putto with Tambourine
1429
bronze statuette
Bode Museum, Berlin

Ciechanowiecki Master 
Young Hercules
ca. 1600
gilt-bronze statuette
Musée d'Art Classique de Mougins

Anonymous Artist
Desert Saint
ca. 1525-50
bronze statuette
Bode Museum, Berlin

Johannes Götz
Boy balancing on a Ball
1888
bronze statuette
National Gallery of Art, Washington DC

Anonymous Artist working in Padua
Narcissus
ca. 1480
bronze statuette
Bode Museum, Berlin

Hellenistic Greek Culture
Young Satyr with Panpipes
160-150 BC
gilt-bronze statuette
(excavated at Pergamon)
Antikensammlung, Staatliche Museen zu Berlin

Antonin Mercié
David with the Head of Goliath
1872
bronze statuette (partly gilt)
Cincinnati Art Museum, Ohio

Carl Milles
Triton Fountain
1916
bronze
Prins Eugens Waldemarsudde, Stockholm

Antonio del Pollaiuolo
Hercules
ca. 1490
bronze statuette
Bode Museum, Berlin

Barthélemy Prieur
Acrobat
ca. 1580
bronze statuette
Bode Museum, Berlin

Anonymous Italian Artist
Souvenir Copy of Michelangelo's David
19th century
bronze
(surface damaged by fire in 1945)
Bode Museum, Berlin

Pietro Francavilla
Écorché Figure
ca. 1590
bronze statuette
Bode Museum, Berlin

Jean-Antoine Houdon
Écorché Figure
ca. 1785
gilt-bronze statuette
Bode Museum, Berlin

attributed to Willem Danielsz van Tetrode
Mercury
1560
bronze statuette
Bode Museum, Berlin

Ellen Roosval
Figurine
1911
bronze statuette on turned wooden base
Moderna Museet, Stockholm

Silence enveloped the marsh.  It was the time of the first watch.  For the girl and her companion the absence of people to interrupt them presented a good opportunity for voicing their sorrows.  In my opinion, the very darkness aggravated their misery, for there was no sight or sound to distract them, and they could devote themselves solely to their grief.  So the girl, with many a solitary sigh (she lay apart form the others, as had been commanded, on a pallet bed), and amid of flood of tears, cried: "Apollo, you punish us too much and too harshly for our sins!  Do you think we have not already suffered punishment enough – separation from our families, capture by pirates, a thousand dangers at sea, now a second capture by bandits on land, and a future even bitterer than the past?  What end will you bring to our torments?  If it is an inviolate death, then my end will be sweet.  But if someone is to have his way with me – as not even Theagenes has – then I shall forestall the outrage by hanging myself, preserving myself as pure as I now preserve myself, even unto death.  My chastity will make me a fine shroud!  Yours is the cruelest court in which I shall ever stand trial!"

Theagenes interrupted her.  "Enough, my darling, my soul, Charikleia.  Your lamentations may be justified, but you provoke the godhead more than you think.  You should plead, not reproach; the powers above are made propitious by prayers, not by accusations."

"You are right," she said.  "How are you now?"

"Better," he replied, "now the evening has come.  And the treatment the young lad gave me has soothed and comforted the agony of my wounds."

– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989) 

Tuesday, January 14, 2025

Right-Facing - I

Nikolaos Gyzis
Olympic Victor
1896
drawing
National Gallery, Athens

workshop of Thomas de Keyser
Portrait of a Woman
ca. 1630-35
oil on panel
Musée d'Art et d'Histoire de Genève

attributed to Antonio del Pollaiuolo
Portrait of Ottoman Sultan Mehmed II
ca. 1470
engraving
Kupferstichkabinett, Staatliche Museen zu Berlin

attributed to Mariotto Albertinelli
Head of a Youth
ca. 1510
drawing
Kupferstichkabinett, Staatliche Museen zu Berlin

Parmigianino (Francesco Mazzola)
Head of a Young Woman
ca. 1524
drawing
Gabinetto dei Disegni e delle Stampe,
Gallerie degli Uffizi, Florence

Jan Lievens
Study of an Old Man
ca. 1625-26
oil on panel
Kunsthistorisches Museum, Vienna

Francesco Montelatici (Cecco Bravo)
Head of a Woman
before 1661
drawing
Scottish National Gallery, Edinburgh

Antonio Tempesta
Roman Emperor Galba
1596
etching
Hamburger Kunsthalle

Ancient Greek Culture
Grave Stele of an Athlete
(fragment)
550 BC
marble relief
(excavated in Athens)
National Archaeological Museum, Athens

attributed to Benedetto da Maino
Portrait of Beatrice of Aragon,
Queen Consort of Hungary

1476
marble relief
Museum of Fine Arts, Budapest

William Holman Hunt
Shepherd
ca. 1849
watercolor on paper
Rhode Island School of Design, Providence

Anonymous Florentine Artist
Portrait of Matteo Olivieri
ca. 1430-40
tempera on panel, transferred to canvas
National Gallery of Art, Washington DC

Philipp Otto Runge
Head Study of the Apollo Belvedere
1800
drawing
(after a cast)
Hamburger Kunsthalle

Dante Gabriel Rossetti
Perlascura (Jane Morris)
1871
drawing (colored chalks)
Ashmolean Museum, Oxford

Anton Løvenberg
Head Study of the Farnese Hercules
ca. 1850-60
drawing
(after a cast)
Rhode Island School of Design, Providence

Antonio Durelli
Écorché Head
1837
drawing
Wellcome Collection, London

from Microscript 54

So here was a book again, and again I was introduced to a woman. I've acquired quite a few female acquaintances by reading, a pleasant method of expanding one's sphere of knowledge, though one can certainly, I admit, become lazy in this way. On the other hand, characters in books stand out better, I mean, more silhouettishly, from one another, than do living figures, who, as they are alive and move about, tend to lack delineation. The one who is my subject here found herself, as the wife of a tradesman who trafficked in cattle, not just neglected but downright oppressed. No matter what she said, he knew better. Constantly he corrected her. If she knuckled under, he was bored. If, however, she displayed the least inclination to hold an opinion of her own, he found her out of line. Before her marriage, she'd taken an interest in the beautiful, i.e., art, and the good, by which I mean literature. Now, though, she began to contemplate vile and wicked things and did in fact set out one day in search of adventure, intending to become a rogue. Soon she succeeded in casting her spell on a dancer who became her admirer. He, however, was devoted to another as well, one whose neck was adorned with pearls of great worth. The cattle merchant's wife, who distinguished herself in the dance halls and cabarets by her mysterious behavior, attempted to win the friendship of the lady with the pearls, but this attempt ended in failure.  . . .  The woman wedded to the tradesman soon assumed the name "the lady in green feathers." She called to mind a vision of springtime. But sweet and dear as she looked, her thoughts were hard, and she was set on using them to debauch these insolent debauchees. It was instinctual, this rough treatment of rough characters. As she sank, she dragged him down with her – all the way, in fact, to the bottom-most level of criminality, which is a sort of swamp. 

– Robert Walser (ca. 1930-33), translated by Susan Bernofsky (2010)

Monday, October 3, 2022

Eugène Delacroix - Anatomical Studies at the Louvre

Eugène Delacroix
Study of Hand
ca. 1825
drawing
Musée du Louvre

Eugène Delacroix
Study of Hands
ca. 1840
drawing
Musée du Louvre

Eugène Delacroix
Study of Arm
1855
drawing
Musée du Louvre

Eugène Delacroix
Study of Back
ca. 1850
drawing
Musée du Louvre

Eugène Delacroix
Académie
ca. 1820-22
drawing
Musée du Louvre

Eugène Delacroix
Académie
ca. 1820-22
drawing
Musée du Louvre

Eugène Delacroix
Sheet of Studies
ca. 1820-22
drawing
Musée du Louvre

Eugène Delacroix
Sheet of Studies
ca. 1820-22
drawing
Musée du Louvre

Eugène Delacroix
Écorché Studies
ca. 1850
drawing
Musée du Louvre

Eugène Delacroix
Écorché Studies
ca. 1850
drawing
Musée du Louvre

Eugène Delacroix
Écorché Studies
ca. 1850
drawing
Musée du Louvre

Eugène Delacroix
Sheet of Studies
1840
drawing
Musée du Louvre

Eugène Delacroix
Sheet of Studies
ca. 1860
drawing
Musée du Louvre

Eugène Delacroix
Study of Pelvic Bones
ca. 1825
drawing
Musée du Louvre

Eugène Delacroix
Study of Pelvic Bones
ca. 1825
drawing
Musée du Louvre

"Moreover there are several kinds of drawings, as there are of colour: the exact or silly, the physiognomic and the imaginative.  The first is negative, incorrect by sheer force of reality, natural but absurd; the second is naturalistic, but idealized draughtsmanship – the draughtsmanship of a genius who knows how to choose, arrange, correct, rebuke, and guess at nature; lastly the third, which is the noblest and strangest, and can afford to neglect nature – it realizes another nature, analogous to the mind and the temperament of the artist.  Physiognomic drawing is generally the domain of the fanatical, like M. Ingres; creative drawing is the privilege of genius.  The great quality of the drawing of supreme artists is truth of movement; and Delacroix never violates this natural law."  

– from The Salon of 1846, published in Art in Paris, 1845-1862: Salons and Exhibitions reviewed by Charles Baudelaire, translated and edited by Jonathan Mayne (London: Phaidon Press, 1965)

Tuesday, September 27, 2022

Louvre - Unassigned French Figure Studies - 17th Century

Anonymous French Artist
Laocoön
17th century
drawing
Musée du Louvre

Anonymous French Artist
(after Nicolas Poussin)
Nymph
17th century
drawing
Musée du Louvre

Anonymous French Artist
River God
17th century
drawing
(fresco cartoon)
Musée du Louvre

Anonymous French Artist
Personification of Time
ca. 1600-1650
drawing
Musée du Louvre

Anonymous French Artist
Study of Antique Torso
17th century
drawing
Musée du Louvre

Anonymous French Artist
Study of Draped Model offering Fruit
17th century
drawing
Musée du Louvre

Anonymous French Artist
Académie
17th century
drawing
Musée du Louvre

Anonymous French Artist
Académie
17th century
drawing
Musée du Louvre

Anonymous French Artist
Académie
17th century
drawing
Musée du Louvre

Anonymous French Artist
Académie
17th century
drawing
Musée du Louvre

Anonymous French Artist
Académie
17th century
drawing
Musée du Louvre

Anonymous French Artist
Annotated écorché Figure
17th century
drawing
Musée du Louvre

Anonymous French Artist
Meeting of Neptune and Venus on the Water
17th century
drawing
Musée du Louvre

Anonymous French Artist
Cain slaying Abel
17th century
drawing
Musée du Louvre

Anonymous French Artist
Two Heads of Bearded Man
ca. 1650-1700
drawing
Musée du Louvre

Study Nature

I do.
     Victim.
     Sales
     Met
     Wipe
     Her
     Less.
     Was a disappointment
     We say it.
                         Study nature.

     Or
     Who
     Towering.
     Mispronounced
     Spelling.
     She 
     Was
     Astonishing
     To
     No
     One
     For
     Fun
                         Study from nature.

     I
     Am
     Pleased
     Thoroughly        
     I
     Am
     Thoroughly
     Pleased.
     By.
     It.
     It is very likely.
                         They said so.

     Oh.
     I want.
     To do.
     What
     Is
     Later
     To
     Be
     Refined.
     By
     Turning.
     Of turning around.
                         I will wait.

– Gertrude Stein (1914)