Bronze Sculptures of the Human Form

A collection of bronze sculptures showcasing diverse human figures and poses, emphasizing anatomy and emotional connections through art.

Fugit Amor Fleeting Love 1881 Auguste Rodin (1840-1917 French) Bronze Musee d'Orsay, Paris, France

. .

Fugit Amor Fleeting Love 1881 Auguste Rodin (1840-1917 French) Bronze Musee d'Orsay, Paris, France

David and Goliath 17th century Attributed to Francesco Fanelli Italian. David and Goliath. Attributed to Francesco Fanelli (Italian, born Florence 1577, active Genoa (1605-30) and England (1632-39)). Italian (Florence), probably cast in England. 17th century. Bronze, with dark brown lacquer patina. Sculpture-Bronze

Fallen Caryatid Carrying Her Stone. Auguste Rodin (France, Paris, 1840-1917). France, circa 1880-1881; date of cast unknown, probably later (after 1917). Sculpture. Bronze

Aimé-Jules Dalou (1838-1902). "Naked woman sitting, without arms". Patinated plaster, around 1884. Museum of Fine Arts of the city of Paris, Petit Palais. Seat, naked woman, penguin, pattero patina, without arms, view face

Pierre de Wiessant, Nude Study modeled 1885, cast before 1950 Auguste Rodin French To fully capture the physicality of human expression, Rodin first modeled the figures of The Burghers of Calais (1989.407) as nudes and later draped them with clothing. Here, he portrays Pierre de Wiessant as a strong, lean youth. Reflecting on another study of Pierres noble resignation to death, the poet Rainer Maria Rilke wrote, "This figure [could be a monument to all who have died young.". Pierre de Wiessant, Nude Study. Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled 1885, cast before 1950. Bronze. Sculpture-Bronze

Science. Aimé-Jules Dalou; French, 1838-1902. Date: 1881-1891. Dimensions: 26.4 × 23 × 15.2 cm (10 3/8 × 9 × 6 in.). Wax. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Edgar Degas, Woman Stretching, c 1896 1911 Woman Stretching

Venus, Weesper Porseleinfabriek, 1764 Figure, representing Venus with a rug in her hands, leaning against a rock with a dolphin, a shell and aquatic plants. Weesp porcelain Figure, representing Venus with a rug in her hands, leaning against a rock with a dolphin, a shell and aquatic plants. Weesp porcelain

After Giovanni Bologna, Hercules Carrying the Erymanthian Boar, c 1575 1675 Hercules Carrying the Erymanthian Boar

Triumphant Youth, c. 1894. Auguste Rodin (French, 1840-1917). Bronze; overall: 52.1 cm (20 1/2 in.).

Damn Love, Andrea Briosco (Workshop of), c. 1500 bronze (metal) bronze (metal)

Eve modeled 1881, cast 1910 Auguste Rodin French Rodin intended Eve and the towering Adam to flank his monumental bronze doorway, The Gates of Hell. There, the biblical progenitors of humanity would have stood as perpetual witnesses to the consequences of their sinbodily death and the damnation of souls. As an independent sculpture, Eve is a physical manifesto of remorse; her body twisted in suffering, her face imprisoned within a gesture of anguish. The bronze casts of Adam and Eve were commissioned for The Met in 1910 from plaster models in the sculptor’s studio.. Eve. Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled 1881, cast 1910. Bronze. Sculpture-Bronze

Edgar Degas, Woman Seated in an Armchair, Wiping Her Left Armpit, c 1890s Woman Seated in an Armchair, Wiping Her Left Armpit

The Age of Bronze (L'Age d'Airain). Dated: model 1875-1876, cast 1903-1904. Dimensions: overall: 104.1 x 35 x 27.9 cm (41 x 13 3/4 x 11 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: AUGUSTE RODIN.

Fortuna 1560-70 After a model by Giambologna Netherlandish This figure of Fortuna bears stylistic similarity with a work created by Giovanni Bologna in the 1560s, such as his Mercury composition of ca. 1563-34, or the sketch model for the group of Florence Triumphant Over Pisa of 1565. Its heavy, rough cast suggests it is a model preserved in bronze, not dissimilar from the appearance of Giovanni Bologna's first design for the Mercury, cast in 1564, now in the Museo Civico, Bologna.. Fortuna. After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. 1560-70. Bronze. Sculpture-Bronze

Adam and Eve, Pieter Xaveri, 1671 Adam stands on a ground on the left leg and with the right -hand bent, holds a branch with leaves in front of the shame with the left hand and has the founded right hand at the chest height. His head is used to the left, the mouth half open. Leiden ivory cutting Adam stands on a ground on the left leg and with the right -hand bent, holds a branch with leaves in front of the shame with the left hand and has the founded right hand at the chest height. His head is used to the left, the mouth half open. Leiden ivory cutting

Woman Seated (Femme Assise) 1920 Aristide Maillol (1861-1944/French)

Hilaire-Germain-Edgar Degas, Dancer Ready to Dance, Right Leg Forward, Modeled c. 1880s, cast 1919-21, bronze.

Tethida; Olivieri, Maffeo (1484-1543); around 1530 (1526-00-00-1535-00-00);TETYDA (MITOL.), Goddesses, Women, Nudity

Komachi Clears Her Name. Masatami (Japan, circa 1850-1890). Japan, late 19th century. Costumes; Accessories. Wood

Jean Marie BIENAIME BONNASSIEUX (1810-1892). "Justice". Terracotta. 1868. Paris, Carnavalet museum. 100605-27 FURNITURE

Randolph Rogers, Nydia, the Blind Girl of Pompeii, model 1855, carved 1860 Nydia, the Blind Girl of Pompeii

LED figurine; 2. PO. II century BC (-150-00-00--101-00-00);Collection of ancient art, scenes.gal.lec.

Sen. Carrier de Belleuse, Albert (1824-1887), sculptor

The Archangel Saint Michael in Triumph, c. 1780, Giuseppe Sanmartino, Italian, 1720-1793, 33 1/2 × 13 7/8 × 13 5/16 in. (85.09 × 35.24 × 33.81 cm), Silver, gilt bronze, Italy, 18th century, The image of Saint Michael killing a dragon comes from the description of an epic battle between good and evil found in Revelation, the last book of the Christian Bible: 'And war broke out in heaven; Michael and his angels fought against the dragon. . . . The great dragon was thrown down, that ancient serpent, who is called the Devil and Satan.' The inscription Quis ut deus (Who is like God') on the shield is a Latin translation of the saints Hebrew name, Mîkhā'ēl.

'Venus and Cupid'. Italy. Florence, Early 16th century. Dimensions: height: 14,0 cm. Museum: State Hermitage, St. Petersburg.

Venus early 19th century Italian, probably Rome. Venus. Italian, probably Rome. early 19th century. Bronze. Sculpture-Bronze

Hercules with the Coat of Nessus 17th century Unidentified This bronze is occasionally attributed to Pierre Puget on the basis of the figure's dynamic pose.. Hercules with the Coat of Nessus 200556

'Boy Putting a Wreath on His Head'. Italy. Rome, Middle of the 18th century. Dimensions: height: 47,0 cm. Museum: State Hermitage, St. Petersburg.

Jean-Baptiste Carpeaux (1827-1875). Lying woman holding a dog. Terracotta, 1871. Museum of Fine Arts of the City of Paris, Petit Palais. 79392-30 Lie, pet, animal, pet, familiar animal, woman, naked woman, female nudite, terracotta, 19th XIX 19th 19th 19th century, dog

South Sea Islander with Drum. Gesshō (or Gessei) (Japan, active late 18th-early 19th century). Japan, late 18th century. Costumes; Accessories. Wood

Patera from figures Atlanta; beginning of the 17th century (1600-00-00-1610-00-00);Atlant, figurines of naked men, men, mythological characters, male characters

Apollo with Lyre 17th century () After a model by Tiziano Aspetti. Apollo with Lyre. After a model by Tiziano Aspetti (Italian, 1565-1607). Italian, Venice. 17th century (). Bronze, iron (lyre). Sculpture-Bronze

ESCULTURA DE ARCILLA. Author: ANTONIO BALLESTER BALLESTER.

After Giovanni Bologna, Mercury, c 1780 c 1850 Mercury

Saint Jerome. Giuseppe Maria Mazza (Italy, Bologna, 1653-1741). Italy, Bologna, 1676. Sculpture. Earthenware

Anonymous. "Hercules and ante by Jean de Bologna". Bronze. Museum of Fine Arts of the City of Paris, Petit Palais. 144868-5

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia88. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Italy, Arezzo Province, Cortona, Bronze statue of God Culsans

Aimé-Jules Dalou (1838-1902). "Man in the bag". Terracotta, between 1889 and 1898. Museum of Fine Arts of the city of Paris, Petit Palais. Man, bag, terracotta

Scratching Her Heel. Artist: Alexander Stirling Calder (American, Philadelphia, Pennsylvania 1870-1945 Brooklyn, New York). Dimensions: 12 x 5 x 5 in. (30.5 x 12.7 x 12.7 cm). Date: 1921.Calder, father of the famous modern artist, sculpted many small, informal studies of nudes engaged in the commonplace actions of day-to-day life. "Scratching Her Heel" depicts its subject in a natural, though complicated, pose: bending and twisting to reach the left heel with the left hand. The cast has a fragile blue-green patina, lending it a weathered appearance. Museum: Metropolitan Museum of Art, New York, USA.

Figural Group: Adam & Eve (Italy); ivory

Figural study of a female in draped garments. Artist: Jacques-Edmé Dumont (Paris 1761-1844). Culture: French. Dimensions: Height: between 3 and 5 cm.. Date: late 18th-early 19th century.Jacques-Edmé Dumont was a highly accomplished Neoclassical miniaturist. His family, a dynasty of sculptors, preserved a great many of these captivating little terracottas (see 2015.378-.382a, b). This figural study shows how Dumont expertly wielded a flat-sided stick to carve the clay along rectangular planes. Museum: Metropolitan Museum of Art, New York, USA.

Królowa Jadwiga. Fragment Pochodu na Wawel. Szymanowski, Wacław (1859-1930), sculptor

Bronze sculpture of Seated Woman with Book, by Henry Moore, (1898-1986), England, London, Christie's Images

Bronze statuette of a satyr dancing 5th century B.C. Etruscan. Bronze statuette of a satyr dancing 255381

Genius of Mirth 1842; carved 1843 Thomas Crawford American During a visit to Crawfords Rome studio in 1842, the New Yorker Henry Hicks gave him an order for a sculpture, leaving the theme to the artists choosing. Crawfords selection of a lighthearted youth was likely to please his patron, as images of children were especially popular in the mid-nineteenth century. He described his subject as “a boy of seven or eight years, dancing in great glee, and tinkling a pair of cymbals, the music of which seems to amuse him exceedingly.” The sculptor and his contemporaries relished the technical challenges of carving marble; the disengaged raised left leg epitomizes the virtuosity they delighted in displaying.. Genius of Mirth 10574

UNIQUE FORMS OF CONTINUITY IN SPACE, by Umberto Boccioni, 1913, Italian Futurist bronze sculpture. The artist's classic striding figure forms are shaped by the power of its forward movement. Cubism profoundly influenced this Futurist masterpiece (BSLOC_2017_7_2)

Auguste Rodin (París, 1840-Meudon, 1917). The Birth of Venus (The Aurore) (1906 - 1907). Marble. 90 x 70 x 45 cm. Museum: Museo Nacional Thyssen-Bornemisza, Madrid.

Mourning Mary, c. 1710-1740. Austria, Vienna, 18th century. Stone with traces of original color; overall: 130.2 x 59.3 x 43.2 cm (51 1/4 x 23 3/8 x 17 in.).

The Sluggard, Frederic Leighton, 1830-1896, British, ca. 1895, Bronze, Overall: 20 × 9 1/2 × 6 1/2 inches (50.8 × 24.1 × 16.5 cm), figure study, man, nude, sensuality, statuette

Adam and Eve.Between 1670 and his death in 1673, the Antwerp sculptor Pieter Xaveri lived in Leiden, where he specialized in small figures modelled in clay. Thanks to these signed ivory figurines, we know that he also pursued that specialism. Xaveri has here abandoned his quick and expressive style in clay modelling in favour of fluid, yet restrained forms.

Antoine Louis Barye, Theseus Fighting the Minotaur, model nd, cast 1857 1873 Theseus Fighting the Minotaur

. .

Mithras and the bull, Roman relief, GERMANY.

Bolesław Śmiały - fragment Pochodu na Wawel. Szymanowski, Wacław (1859-1930), sculptor

Statuette of Herakles. Etruscan. Date: 400 BC-200 BC. Dimensions: 9 × 4 × 1.5 cm (3 1/2 × 1 1/2 × 1/2 in.). Bronze. Origin: Etruria. Museum: The Chicago Art Institute, Chicago, USA. Author: Ancient Etruscan.

Woman Seated in Chair Wiping her Left Side modeled probably ca. 1896-1900, cast 1920 Edgar Degas French Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tightly controlled and their edi

RENOIR , AUGUSTE. PINTOR Y ESCULTOR FRANCES. 1841 - 1919. " LA PEQUEÑA LAVANDERA " , BRONCE. Author: AUSGUSTE RENOIR.

Sitting Shepherd Laforesterie, Louis Edmond (1837 1894)

Charity and Faith, Hubert Gerhard (circle of), Heinrich Gerhard (possibly), c. 1600 - c. 1610 She is stretched on the right side with the right leg and bent the left. She supports a flat -lying book with the right elbow and lets a raised foliant rest on her waist with her left hand. Her lifted head is used to the left. She loosely wears a tunica, which is held together around the medicine, on a shoulder is closed by a knot and shows a split on the right leg; The other shoulder the legs remain largely uncovered. Below her is a cloak, which partly covers the entire back and both arms. On the hair tied in a braid, which has been incorporated into life, a diadem. The raised book has a simple, decorated 'leather' band with locks. München bronze (metal) casting / gilding / lacquering She is stretched on the right side with the right leg and bent the left. She supports a flat -lying book with the right elbow and lets a raised foliant rest on her waist with her left hand. Her lifted head is us

Fragment of image. Fragment of image. From Eemsteyn monastery in Zwijndrecht.

Saint Mary Magdalene. Culture: German. Dimensions: Overall: 4 1/4 x 4 1/16 x 1 7/16in. (10.8 x 10.3 x 3.7cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

HEROES DE TARRAGONA O HEROES DE 1811 - 1919. Author: JULIO ANTONIO RODRIGUEZ HERNANDEZ (1889-1919). Location: MUSEO REINA SOFIA-ESCULTURA. MADRID. SPAIN.

Mercury. Willem Danielsz. van Tetrode (known as Guglielmo Fiammingo) (Netherlands, Delft, about 1525 - 1580, active Italy). Holland, 1560-1565. Sculpture. Bronze on verde antico base

DETALLE DE LAS FIGURAS DE MARFIL TALLADO REPRESENTANDO UNA BACANAL - SIGLO XVII - BARROCO FLAMENCO - CONJUNTO Nº 82412. Author: GERARD VAN OPSTAL (1594-1668). Location: MUSEE D'ARTS DECORATIFS. MADRID. SPAIN.

Mercurius Keten Prometheus, Giovanni Battista Foggini, 1685 - 1710 Round freely conceived, more or less round and dynamic composition, grouped on a rock, in which Mercury comes running from the left to further attach the naked and partly to the rock-chained, half-lying Prometheus. On the right an eagle is already busy picking the liver from Prometheus' silk. The bronze is made up of different loosely cast parts and then continued together; This is a common method of manufacturing since the 16th century. Florence bronze (metal) casting Round freely conceived, more or less round and dynamic composition, grouped on a rock, in which Mercury comes running from the left to further attach the naked and partly to the rock-chained, half-lying Prometheus. On the right an eagle is already busy picking the liver from Prometheus' silk. The bronze is made up of different loosely cast parts and then continued together; This is a common method of manufacturing since the 16th century. Florence bronze (

Chaos or the battle of the four elements, i.p., 1663 Image cut from a thick trunk boxwood, the bark of which is partly still present. The lower half - the base - is solid cylindrical and fitted with bander rolls with the following inscriptions: i.p. Statvarivs Inventor. Amsterdami 1663 (on Banderol) and X á "Q" (on small banderol), forming the Greek word chaos. Above it is a freely conceived performance of the battle of the four elements: four naked figures - two men, two women - who are wrapped in a fight; The naked bodies are intertwined in a complex way. Animals and plants are present at the soil, as symbols of the elements of water (crab, fish, shells), air (swan, bat) and earth (flowering rose, turtle, leopard/tiger). Amsterdam boxwood (hardwood) cutting Image cut from a thick trunk boxwood, the bark of which is partly still present. The lower half - the base - is solid cylindrical and fitted with bander rolls with the following inscriptions: i.p. Statvarivs Inventor. Amsterdami 1

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia06. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Anonymous after Michel André Anguier (1612-1686). Pluto accompanied by his Cerbère dog. Bronze. Paris, Carnavalet museum. 76180-25 Mythological animal, bronze, God, Greek-Roman de divine, Greek-Roman mythology, Greek mythology, Roman mythology, Statuette, 18th 18th 18th 18th 18th 18th 18 Center, dog

Buddhist Ascetic, or Lohan ca. 1740 Villeroy. Buddhist Ascetic, or Lohan. French, Villeroy. ca. 1740. Soft-paste porcelain, gilt bronze. Villeroy (French, 1734/37-1748). Ceramics-Porcelain

The Wounded Bear ca. 1850 After a model by Emmanuel Frémiet French This composition, which was shown as a plaster model at the Salon of 1850, was one of the first successes for Frémiet, a gifted "animalier." Frémiet's most popular inventions were frequently replicated in terracotta, at less expense than in bronze. This group was cast after an example in which the blade in the she-bear's shoulder was already missing.. The Wounded Bear. After a model by Emmanuel Frémiet (French, Paris 1824-1910 Paris). French. ca. 1850. Cast terracotta. Sculpture

Convers, Louis-Joseph (n.1860-09-05-D.1915), Cosette carrying her bucket (attributed title). Terracotta. Houses of Victor Hugo Paris - Guernsey.

Mercurius, anonymous, c. 1720 - c. 1770 FaaMence men's figure, in the form of Mercury. Multiculously decorated. Delft .

Anonymous. "Woman portrait". Bronze, 18th century. Paris, Carnavalet Museum Woman, hat, pearl, dress, col. Bronze, woman, portrait, woman

Spinario (Boy Pulling a Thorn from his Foot). Artist: Probably Workshop of Severo Calzetta da Ravenna (Italian, active by 1496, died before 1543). Culture: Italian, Padua or Ravenna. Dimensions: Figure (confirmed): 6 3/4 × 3 3/4 × 4 in. (17.1 × 9.5 × 10.2 cm); Tree stump (confirmed): 2 5/8 × 1 1/2 × 1 1/2 in. (6.7 × 3.8 × 3.8 cm); Base (confirmed): 2 3/4 in. × 4 in. × 4 in. (7 × 10.2 × 10.2 cm). Date: mid-16th century. Museum: Metropolitan Museum of Art, New York, USA.

David and Goliath by Giovanni Battista Foggini, 1652-1725

Inkwell in the Form of Atlas Holding a Globe first half 16th century or later Workshop of Severo Calzetta da Ravenna Italian Through comparison with other inkwells of this model, the kneeling male figure seen here can be identified as Atlas, the Titan from Greek mythology who supported the celestial sphere on his shoulders. However, in this version, the large, globe-shaped oil lamp he would originally have carried does not survive.. Inkwell in the Form of Atlas Holding a Globe 461316

Le Chat Maitre d'Hotel Conceived 1967 Alberto Giacometti (1901-1966 Swiss) Bronze with Brown Patina Christie's Images, London, England

Figure of a dancing woman, Porseleinfabriek Ludwigsburg, c. 1763 - c. 1767 Image of porcelain, painted on the glaze in email colors and gold. The image represents a dancing woman. Marked on the underside with the crowned double C and II C III. Ludwigsburg porcelain. glaze. gold (metal) painting / gilding / vitrification Image of porcelain, painted on the glaze in email colors and gold. The image represents a dancing woman. Marked on the underside with the crowned double C and II C III. Ludwigsburg porcelain. glaze. gold (metal) painting / gilding / vitrification

Two temple guardians, c. 1300 - c. 1400 Image of a temple keeper: Misshaku Kongo (AGYO), wood with traces of polychromy. Japan wood (plant material) Image of a temple keeper: Misshaku Kongo (AGYO), wood with traces of polychromy. Japan wood (plant material)

Eve Emportant le Fruit de Mal (Eve Chassee du Paradis Terrestre), 1874, Jean-Baptiste Carpeaux, French, 1827-1875, 24 1/2in. (62.2cm), Terra cotta, France, 19th century

Dance Movement "G" modeled ca. 1910-11, cast probably before ca. 1950 Auguste Rodin French In his quest to capture continuous movement in sculpture, Rodin studied dancers. This bronze was cast after a sketch that he rapidly modeled in clay while observing a live dancer perform in his studio. The figures implausible pose is the result of Rodins experimental efforts to fuse several sequential postures into one.. Dance Movement "G". Auguste Rodin (French, Paris 1840-1917 Meudon). French, Paris. modeled ca. 1910-11, cast probably before ca. 1950. Bronze, black marble base. Sculpture-Bronze

. .

GARGALLO, PABLO. ESCULTOR ESPAÑOL. MAELLA 1881-1934. " PEQUEÑO ARLEQUIN CON FLAUTA ". CHAPA DE COBRE, AÑO 1931. COLECCION PARTICULAR.

Guérin, Gilles (n.1611-D.1678-02-26), Louis XIV (1638-1715) Tracing La Fronde (dummy title), 1626. Bronze with lost wax. Carnavalet museum, history of Paris. Louis XIV. Portrait, allegory, king, man, adolescent, Roman emperor, ancient, crown, laurel, breastplate, scepter; La Fronde, warrior, revolt, man, helmet, defeated, yoke.

Figural study of a man kneeling late 18th-early 19th century Jacques-Edmé Dumont Jacques-Edmé Dumont was a highly accomplished Neoclassical miniaturist. His family, a dynasty of sculptors, preserved a great many of these captivating little terracottas (see 2015.378-.382a, b). This figural study shows how Dumont expertly wielded a flat-sided stick to carve the clay along rectangular planes.. Figural study of a man kneeling. Jacques-Edmé Dumont (Paris 1761-1844). French. late 18th-early 19th century. Terracotta. Sculpture-Miniature

. Ecce Homo (Behold the Man’). Pontius Pilatus is said to have uttered these words when he mockingly presented Jesus to the Jewish people as their king, adorned with a crown of thorns and wearing a cloak. This scene of Christ’s suffering is aptly presented in this bronze. The Flemish sculptor Du Quesnoy, who worked in Rome, portrayed this forlorn moment of God’s son with restrained emotion.

Tendu Devant modeled probably before 1890, cast 1920 Edgar Degas French Upon Degas's death in 1917, more than 150 figurative sculptures were found in his studio. Most were made of fragile wax, clay, and plastiline (a wax- and oil-based modeling material). Many had deteriorated. Only a few were preserved in copies that had been cast from them in plaster. Except for the wax Little Fourteen-Year-Old Dancer (Washington: NGA) none of these sculptures had been publicly exhibited during the artists lifetime.Although Degas had not favored reproducing his sculptures in more permanent materials, his heirs authorized that copies be cast in bronze in order to preserve the compositions and to sell them as finished works. Paul-Albert Bartholomé, a sculptor and Degas's longtime friend, prepared 72 of the figures for casting, a process executed by the distinguished Paris foundry A.-A. Hébrard et Cie. The quality of the Degas bronzes was tightly controlled and their edition was limited. Only twenty-tw

Inkwell in the Form of Atlas Holding a Globe. Artist: Workshop of Severo Calzetta da Ravenna (Italian, active by 1496, died before 1543). Dimensions: H. 23.8 cm.. Date: first half 16th century or later.Through comparison with other inkwells of this model, the kneeling male figure seen here can be identified as Atlas, the Titan from Greek mythology who supported the celestial sphere on his shoulders. However, in this version, the large, globe-shaped oil lamp he would originally have carried does not survive. Museum: Metropolitan Museum of Art, New York, USA.

Woman Lying with Drapery; Femme Couchee a la Draperie. Henri Laurens (1885-1954). Terracotta. Conceived and cast in 1926. 19cm high and 42cm long.

Bronze statuette of Artemis 3rd-1st century B.C. Greek This statuette shows Artemis, goddess of the hunt and hunters, removing an arrow from a quiver that would have been suspended over her right shoulder. Her left hand probably held a bow. She wears a short peplos, cinched beneath the breast bone with an overfold at the hips, and hunting boots. This traditional costume facilitates swift movement and implies a sense of athleticism, two traits commonly associated with Artemis.. Bronze statuette of Artemis 255695

Putto Horend with the burial monument of Pope Adrianus VI, Alberto Galli, 1523 Putto hornend with the burial monument of Pope Adrianus VI, cast in plaster. Italy gypsum casting Putto hornend with the burial monument of Pope Adrianus VI, cast in plaster. Italy gypsum casting

Eternal Idol. Auguste Rodin (France, Paris, 1840-1917). France, first modeled c. 1889, this cast 1967. Sculpture. Bronze

Putto Holding Shield to His Left. Ferdinando Tacca (Italian, 1619 - 1686)

19th century wooden figure of Lono, the Hawaiian god of agriculture and rain. He appears in hooilo (the wet season) as rain clouds and winter storms. Some poe kahiko (Hawaiians of old) describe Lono as the “akua poo huna i ke ao lewa, ” or the god whose head is hidden in the dark clouds.

Roussel, Paul (n.1867-10-28-D.1928-01-01), L'Etrange Capture (main title), 1887. Terracotta. Petit Palais, Museum of Fine Arts of the City of Paris.

of 3