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Bather, also called Venus at The Louvre, Paris

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Title
Bather, also called Venus (Venus leaving the bath)

Artist
Christophe-Gabriel Allegrain (1710-1795)

Date
1767

Medium
Marble

Dimensions
height: 1.74m

Accession #
MR 1747

Credit
Entered the Louvre before 1824

This "beautiful, beautiful, sublime figure" captivated Diderot and his contemporaries. Instead of sculpting the idealized body of a goddess, Allegrain shows a woman in all her mortal realism. The fluidity of the contours, the feeling of fullness, the voluptuousness of her gesture, and the refinement of the hairstyle are eminently sensual.
A "beautiful, beautiful, sublime figure; even the most beautiful, they say, the most beautiful figure of a woman the moderns have created," Diderot enthused at the 1767 Salon. The statue could be seen in the sculptor's studio, where it was admired by one and all. The delicately worked marble imbued the nude with the elasticity and sensuality of real flesh.
The work launched the career of a hitherto unknown artist. Diderot wrote in a letter to his friend the sculptor Étienne-Maurice Falconet, in May 1768, "Well, that Allegrain, whom I'd never heard of, has just done a bathing Venus that has the admiration of even the masters of art." In 1755, before awarding this royal commission to Allegrain, the Marquis of Marigny, Director of the King's Buildings, had sought the advice of Charles-Nicolas Cochin, engraver, keeper of the king's cabinet of drawings, and historiographer of the Académie Royale de Peinture et de Sculpture, who exerted great influence in artistic politics. The latter had to admit that the only known work by the artist was Narcissus, his admission piece for the Académie. Allegrain was nevertheless given the commission, no doubt owing to the influence of his brother-in-law, Jean-Baptiste Pigalle, the most famous sculptor under Louis XV. But he was delivered a faulty block of marble, full of veins and bluish marks. The plaster, shown at the 1757 Salon, aroused little attention, but ten years later the marble created a sensation. Louis XV offered it to his mistress, Madame Du Barry, who placed it in the park of her home, the Château de Louveciennes, and commissioned from the artist a pendant, Diana and Actaeon (Louvre). The two sculptures, seized during the Revolution, entered the Louvre before 1824.
The figure, whose proportions were praised by a critic of the time, exudes simplicity and naturalness, the distinctive qualities of antique statuary. Yet Allegrain's Venus does not explicitly refer to any antique model, although it does have the serpentine fluidity of the works of Giambologna (1529-1608), an Italian sculptor of Flemish origin who had greatly influenced European sculpture. In particular, it has affinities with the "Bather Placing Her Foot on a Perfume Vase," a 17th-century bronze copy of which is in the Musée de la Chartreuse, Douai, notably that figure's sinuous contours, lowered shoulder, small breasts, and very elaborate plaited hairstyle (which Allegrain improves upon). Yet he is not sculpting the firm, idealized body of a goddess but the carnal reality of a woman. She has folds on her stomach, hips, and arms. The pose of the head, facial expression, and the refinement of the hairstyle exude sensual charm. There is a faint smile on her face and a twinkle in the slightly contracted left eye. The forward-leaning head is very daring, considering the fragility of marble. Allegrain created a "bridge" of hair between head and back to support and counterbalance it, and in so doing combines beautiful details and overall clarity.

náhodný výběr modelů

Athena at The Réunion des Musées Nationaux, Paris

Ioan Vidu in Lugoj, Romania

Claude Gellée at The Musée Rodin, Paris

Large Standing Figure: Knife Edge in London, UK

Robert Burns at Victoria Embankment Gardens, London

Figure of Skylla at The British Museum, London

home technologie 3D tisku 3D tiskarny materiály 3D scanery 3D modely ART 3D programy 3D Slicer Reklama 3D tiskárny AONN.cz Spřátelené Weby		3D modely ART Bather, also called Venus at The Louvre, Paris velikost souboru - 35MB stáhnout soubor 3D vizualizace Title Bather, also called Venus (Venus leaving the bath) Artist Christophe-Gabriel Allegrain (1710-1795) Date 1767 Medium Marble Dimensions height: 1.74m Accession # MR 1747 Credit Entered the Louvre before 1824 This "beautiful, beautiful, sublime figure" captivated Diderot and his contemporaries. Instead of sculpting the idealized body of a goddess, Allegrain shows a woman in all her mortal realism. The fluidity of the contours, the feeling of fullness, the voluptuousness of her gesture, and the refinement of the hairstyle are eminently sensual. A "beautiful, beautiful, sublime figure; even the most beautiful, they say, the most beautiful figure of a woman the moderns have created," Diderot enthused at the 1767 Salon. The statue could be seen in the sculptor's studio, where it was admired by one and all. The delicately worked marble imbued the nude with the elasticity and sensuality of real flesh. The work launched the career of a hitherto unknown artist. Diderot wrote in a letter to his friend the sculptor Étienne-Maurice Falconet, in May 1768, "Well, that Allegrain, whom I'd never heard of, has just done a bathing Venus that has the admiration of even the masters of art." In 1755, before awarding this royal commission to Allegrain, the Marquis of Marigny, Director of the King's Buildings, had sought the advice of Charles-Nicolas Cochin, engraver, keeper of the king's cabinet of drawings, and historiographer of the Académie Royale de Peinture et de Sculpture, who exerted great influence in artistic politics. The latter had to admit that the only known work by the artist was Narcissus, his admission piece for the Académie. Allegrain was nevertheless given the commission, no doubt owing to the influence of his brother-in-law, Jean-Baptiste Pigalle, the most famous sculptor under Louis XV. But he was delivered a faulty block of marble, full of veins and bluish marks. The plaster, shown at the 1757 Salon, aroused little attention, but ten years later the marble created a sensation. Louis XV offered it to his mistress, Madame Du Barry, who placed it in the park of her home, the Château de Louveciennes, and commissioned from the artist a pendant, Diana and Actaeon (Louvre). The two sculptures, seized during the Revolution, entered the Louvre before 1824. The figure, whose proportions were praised by a critic of the time, exudes simplicity and naturalness, the distinctive qualities of antique statuary. Yet Allegrain's Venus does not explicitly refer to any antique model, although it does have the serpentine fluidity of the works of Giambologna (1529-1608), an Italian sculptor of Flemish origin who had greatly influenced European sculpture. In particular, it has affinities with the "Bather Placing Her Foot on a Perfume Vase," a 17th-century bronze copy of which is in the Musée de la Chartreuse, Douai, notably that figure's sinuous contours, lowered shoulder, small breasts, and very elaborate plaited hairstyle (which Allegrain improves upon). Yet he is not sculpting the firm, idealized body of a goddess but the carnal reality of a woman. She has folds on her stomach, hips, and arms. The pose of the head, facial expression, and the refinement of the hairstyle exude sensual charm. There is a faint smile on her face and a twinkle in the slightly contracted left eye. The forward-leaning head is very daring, considering the fragility of marble. Allegrain created a "bridge" of hair between head and back to support and counterbalance it, and in so doing combines beautiful details and overall clarity. náhodný výběr modelů Athena at The Réunion des Musées Nationaux, Paris Ioan Vidu in Lugoj, Romania Claude Gellée at The Musée Rodin, Paris Large Standing Figure: Knife Edge in London, UK Robert Burns at Victoria Embankment Gardens, London Figure of Skylla at The British Museum, London
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