Bronze Sculptures of the Renaissance

A collection of elegant bronze sculptures showcasing classical figures and themes from the Renaissance, featuring dynamic poses and intricate details.

Hercules, Nessus and Deianeira, Charles Crozatier, Adriaen de Vries (after), c. 1845 - c. 1850 Paris bronze (metal) Paris bronze (metal)

Bather early 17th century Barthélemy Prieur French. Bather. Barthélemy Prieur (French, Berzieux ca. 1536-1611 Paris). French. early 17th century. Bronze, with medium brown patina, and remains of dark brown lacquer. Sculpture-Bronze

Venus.Venus stands on her right leg on a round pedestal, with her left leg bent. Her upper body leans slightly forward. She holds an apple in her right hand and gazes at it, with her left hand against her chest. Her wavy hair is gathered in a knot on top of her head. No other art form expresses Renaissance ideals as powerfully as bronze statuettes and everyday objects. Bronze, a precious and durable alloy of copper and tin, was the main material, along with marble, in which art works of Classical antiquity were preserved. During the Renaissance, many bronzes were modelled on excavated ancient Roman statues. Gods and heroes were favourite themes.

Piping and Dancing Satyr, 300-100 BC. Greece, Alexandria (), 3rd-2nd Centuries BC. Bronze; overall: 21 cm (8 1/4 in.).

Johannes Götz, Boy Balancing on a Ball, model 1888, cast probably c 1905 Boy Balancing on a Ball

Woman Seated in Armchair Wiping Her Left Armpit modeled probably ca. 1895, 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

Astronomy ca. 1590-1610 After a model by Giambologna Netherlandish. Astronomy. After a model by Giambologna (Netherlandish, Douai 1529-1608 Florence). Italian, Florence. ca. 1590-1610. Bronze. Sculpture-Bronze

Bathing girl.

Hercules, Nessus and Deianeira, Charles Crozatier, Adriaen de Vries (after), c. 1845 - c. 1850 Paris bronze (metal) Paris bronze (metal)

Needless Alarms modeled 1886, cast 19th century Frederic, Lord Leighton British. Needless Alarms. Frederic, Lord Leighton (British, Scarborough 1830-1896 London). British. modeled 1886, cast 19th century. Bronze, dark olive brown patina. Sculpture-Bronze

'Jupiter'. Italy, 16th century. Dimensions: height: 10,5 cm. Museum: State Hermitage, St. Petersburg.

Antique-style Statuette of Young Satyr with Cymbals Italian 19th century View more. Antique-style Statuette of Young Satyr with Cymbals. Italian. 19th century. Bronze. Sculpture-Bronze

La Poésie Légère mid-19th century James Pradier. La Poésie Légère 235657

Bronze statuette of a youth dancing. Culture: Greek. Dimensions: 7 15/16in. (20.1cm). Date: late 4th century B.C..This beautiful bronze captures a moment when the full achievement of Classical art began to be used for the representation of a single, transitory state. The youth is nude except for a crown of myrtle, an attribute of followers of the god Dionysos. His pose no longer dictates one primary view, for his torso and legs assume a true contrapposto, and his downward glance reinforced by the direction of the arms makes a rather tight spiral of the whole composition. There is a perfect congruence among all parts of the figure, but the shifts in direction evident from every angle maintain an effect of instability and impermanence. Museum: Metropolitan Museum of Art, New York, USA.

Hercules and the Erymanthian Boar probably modeled ca. 1831 Antoine-Louis Barye French. Hercules and the Erymanthian Boar 198927

Aimé-Jules Dalou (1838-1902). "Woman study for glory". Patinated plaster, after 1891. Museum of Fine Arts of the city of Paris, Petit Palais. Allegory, Elancer, woman, glory, pattero patina, jump, jump

Dancer Ready to Dance, Right Foot Forward Modeled 1882-1895 France. Bronze . Hilaire Germain Edgar Degas

Anonymous. "Mercury". Metal, bronze, rough patina. 100/200 BC .. Museum of Fine Arts in the city of Paris, Petit Palais. 99933-25 ANTIQUITE, BRONZE, Metal, antique

Bronze statuette of a satyr with a torch and wineskin. Culture: Greek. Dimensions: H. 9 15/16 in. (25.3 cm). Date: 3rd-2nd century B.C..Thiasoi were jubilant celebrations in honor of Dionysos that were attended by satyrs and maenads. From ancient literature, we learn that thiasoi occurred outdoors, and often at night. This fine bronze satyr can be identified as a participant in one such revel. An unusual aspect of his iconography is the inverted torch, a motif with great narrative potential, for the satyr may be extinguishing it or perhaps lighting it from a hearth. The full wineskin implies the latter and evokes the promise of a long, boisterous evening of drunken merriment. Museum: Metropolitan Museum of Art, New York, USA.

The Age of Bronze (L'Age d'airain) modeled 1876, cast ca. 1906 Auguste Rodin French Rodins breakout sculpture, The Age of Bronze caused a critical scandal for its extreme naturalism and ambiguous subject matter. Fashioned over a period of eighteen months and based on a live model, the sculpture depicts a suspended moment of human awakening, either to suffering or to joy. First exhibited in 1877 in Brussels with the title The Conquered Man (Le Vaincu [literal translation, "The Vanquished"), it was displayed later the same year in Paris with its current title. Rodin promoted the works multiple interpretations, saying, "There are at least four figures in it.". The Age of Bronze (L'Age d'airain). Auguste Rodin (French, Paris 1840-1917 Meudon). French. modeled 1876, cast ca. 1906. Bronze. Sculpture-Bronze

Andiron 17th century or later Model, workshop of Niccolò Roccatagliata Italian. Andiron. Model, workshop of Niccolò Roccatagliata (Italian, born Genoa, active 1593-1636) (), Venice. 17th century or later. Copper alloy with a warm brown patina under a partly worn dark brown to black patina, cast in three segments.. Metalwork

Dido (or Lucretia). A running naked woman in bronze. She likes her right hand with her right hand. Her left hand is directed sideways; The head has been turned off (to the right) of the running direction, as if they do not want to witness its upcoming suicidal deed. The woman wears a small crown in the hair. The bronze is mounted on a red / gray-white-veined, marble base (19th century).

Italy, Poggio Castiglione, Massa Marittima, Bronze statue depicting Hercules

Seated Hercules. Guillaume Boichot (France, Paris, 1735-1814). France, Paris, circa 1795. Sculpture. Bronze, cast by Charles Crozatier

Jean-Baptiste Carpeaux (1827-1875). Young man, a knee on the ground. Patinated plaster,. Museum of Fine Arts of the City of Paris, Petit Palais. 79392-10 Sketch, model, plaster, statuette, 19th 19th 19th 19th 19th 19th century

Phryné, 19th-20th century, Jean Alexandre Joseph Falguière, French, 1831-1900, 32 3/4 × 11 1/4 × 11 1/4 in. (83.19 × 28.58 × 28.58 cm) (including base), Bronze, France, 19th-20th century, The inspiration for this sensual nude, a favorite subject of Falguière, was the painting Phryné Before the Areopagus by the sculptor's brother-in-law Jean-Leon Gérôme. Phryné was a courtesan of Ancient Greece--her sandals and necklace represent her place in ancient history. In the painting, Phryné stands at her trial--reportedly for impropriety--while the orator Hyperedes, her defender, removes her robe to get pity on her from the jury. Falguière used both live models and photographs of them in creating his sculpture. Because of the similarity, both Gérôme and Falguière may have used the same photograph by Nadar for their models.

Matteo Bonuccelli / 'Venus with a Shell, or Nymph'. Ca. 1652. Bronze. Museum: Museo del Prado, Madrid, España.

Svend Rathsack (1885-1941), woman who sets his Haar, 1928

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia11. 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.

Woman Arranging Her Hair. Dated: possibly late 1880s/1890s. Dimensions: overall without base: 46.4 x 25.5 x 16 cm (18 1/4 x 10 1/16 x 6 5/16 in.). Medium: pigmented beeswax, clay, metal armature, cork, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

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

Dancer Moving Forward, Arms Raised. Dated: c. 1885/1890. Dimensions: overall without base: 35.9 x 15.8 x 16.7 cm (14 1/8 x 6 1/4 x 6 9/16 in.) height (of figure): 35 cm (13 3/4 in.). Medium: pigmented beeswax, unidentified clay, metal armature, on wooden base. Museum: National Gallery of Art, Washington DC. Author: EDGAR DEGAS.

Satyress with urn (one of a pair). Artist: Andrea Briosco, called Riccio (Italian, Trent 1470-1532 Padua). Culture: Italian, Padua. Dimensions: Overall (confirmed): 9 7/8 × 3 3/8 × 3 1/4 in. (25.1 × 8.6 × 8.3 cm). Date: ca. 1510-20.This pair (see also 64.101.1415) relates closely to figures in bronze reliefs by the master, The Descent into Limbo and The Resurrection, in the Musée du Louvre. Museum: Metropolitan Museum of Art, New York, USA.

Hercules or Atlas Supporting the Globe ca. 1780 Possibly by Clodion (Claude Michel) French This is a preliminary model for a bronze clock figure; the movement would have been in the globe. In an anonymous sale in Paris, 1790, a terracotta was sold that purported to be Clodion's model for a clock for Catherine the Great of Russia.. Hercules or Atlas Supporting the Globe 189645 Artist: Possibly by Clodion (Claude Michel), French, Nancy 17381814 Paris, Hercules or Atlas Supporting the Globe, ca. 1780, Terracotta, painted to resemble bronze, Height: 15 5/8 in. (39.7 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1906 (07.225.379)

Torso. Artist: Auguste Rodin (French, Paris 1840-1917 Meudon). Culture: French. Dimensions: wt. confirmed: 20 1/2 × 10 × 6 3/8 in., 31.1 lb. (52.1 × 25.4 × 16.2 cm, 14.1 kg)Height (with base): 23 in. (58.4 cm). Founder: Coubertin Foundry. Date: modeled ca. 1877-78, cast 1979.This bronze cast preserves the aggressiveness with which Rodin could attack his clay figures. He tore and gouged the torso with his hands and sliced at its arms and thigh with wire. Contemporary critics often decried these acts as "mutilations" of the human body and considered them direct assaults on artistic ideals. But in such fragments Rodin sought to achieve an aesthetic beauty that was heroic and complete, saying of another work, "Don't you see I left it in that state intentionally" Rodin displayed a large-scale plaster cast of this composition at his 1889 joint exhibition with Monet at Galerie Georges Petit in Paris. He later reused a version of Torso to create The Walking Man. Museum: Metropolitan Museum

Saint Sebastian. Dated: c. 1500/1509. Dimensions: overall: 24.6 x 7.7 x 5.8 cm (9 11/16 x 3 1/16 x 2 5/16 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Severo da Ravenna.

Triton late 16th or early 17th century Workshop of Niccolò Roccatagliata Italian. Triton. Workshop of Niccolò Roccatagliata (Italian, born Genoa, active 1593-1636). Italian, Venice. late 16th or early 17th century. Bronze. Sculpture-Bronze

The Bather Richard Edwin Brooks American 1896, cast 1904 While he was in Paris, Brooks modeled and cast this statuette of a young boy atop a rock bracing himself to gauge the temperature of the water below. The subject is presented in an animated moment, and, in keeping with the artists Beaux-Arts training, with a composition of textural contrast among water, rock, and flesh. At the Paris Salon of 1896, Brooks exhibited a plaster statue titled “Ah! C'est froid,” probably the model for a proposed lifesize bronze. View more. The Bather. Richard Edwin Brooks (American, Braintree, Massachusetts 1865-1919 Washington, D.C.). American. 1896, cast 1904. Bronze

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia56. 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.

Kneeling Satyr. Workshop of Riccio (Andrea Briosco) (Italian, 1470 - 1532)

Sleeping Cupid. Culture: Italian, Venice. Dimensions: Overall (confirmed): 8 7/8 × 7 3/4 × 7 1/2 in. (22.5 × 19.7 × 19.1 cm). Date: early 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Roma - Museo delle Terme. Discobolo di Castel Porziano (scultura antica) , Antiquities, Sculpture, Discus throwing. Nicholas Catsimpoolas Collection

Imitator of Honoré Daumier, The Small Shopkeeper (Le petit propriétaire), model probably after 1860, cast around February 1956 The Small Shopkeeper (Le petit propriétaire)

Chess Figure Poleszczuk Skirmuntt, Helena (1827 1874)

Angel with Tambourine', 1429. Artist: Donatello. Donatello (c1386-1466 was an Italian sculptor of the Renaissance. Born in Florence, he studied classical sculpture and used this to develop a complete Renaissance style in sculpture.

'Antiope'. Northern Italy, Second half of the 16th century (). Dimensions: height: 29,0 cm. Museum: State Hermitage, St. Petersburg.

Bronze statuette of a youth 6th century B.C. Etruscan The nudity, short hair, and pose of this youth demonstrate clearly that he represents an Etruscan response to Greek sculptures of the second half of the sixth century B.C. Originally, the figure held something, perhaps a spear or a bow, in his right hand. One characteristic Etruscan feature is that he wears pointed shoes, which are unknown in the related Greek statues.. Bronze statuette of a youth 255377

Dancer Fastening the String of Her Tights modeled possibly 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 editio

GAITERO EN BRONCE-FLAMENCO S XVI. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Nude Women Wrestling mid-17th century After a composition by Leonhard Kern An ivory of this composition, in Vienna, has been convincingly assigned to the prolific Leonhard Kern.1 The ivory is smaller (17.2 cm) and its self-base naturalistically carved with shells and a dog. Among other bronzes of this composition, equivalent in quality to ours, are those in the Wallace Collection, London, and in the Nationalmuseum, Stockholm. They are conventionally called Italo-Flemish, and are dated to the late sixteenth or early seventeenth century, because of their supposed resemblance to bronzes of the type of nos. 88 and 89.2It is generally assumed that one of the bronzes was the model for the ivory, but the case is more likely to have been the reverse. While omitting the elaborate base of the ivory, the maker of the bronzes retained some, if not all, of the simple volumetric masses that typify Kern’s carving style. This maker may best be defined as either a workshop associate or an early imi

Abruzzo Chieti Chieti Museo Nazionale di Antichita24. Hutzel, Max 1960-1990 Exterior views of part of the former Villa Frigeri, which along with a neighboring palazzo, houses the Museo Nazionale di Antichita. Views also of the gardens, fountain (17th century) and the restored interior. The so-called "Capestrano Warrior" (5th century B.C.) is found in the Antiquities core collection under Men, Youths, Warriors--Stone--Etruscan, Italic. Hutzel views include statues, funerary monuments, portrait busts and mosaics, many of which were excavated from Alba Fucens. Hutzel paid particular attention to the colossal statue of Hercules (late Hellenistic); the funerary temple reliefs of Lucius Storax; various nudes, torsos and heads, including the portrait bust of Agrippina Minore and the sepulchral portrait relief of Lucius Poditius (1st century A.D.); gravestones with inscriptions and bas-reliefs; Roman coins; bronze figurines (mainly warriors); and bronze vessels, utensils, helmets and ornaments

Atlantid ca. 1510 Circle of Severo Calzetta da Ravenna Italian. Atlantid. Circle of Severo Calzetta da Ravenna (Italian, active by 1496, died before 1543). Italian, Ravenna or Padua. ca. 1510. Bronze on black, red and green marble base. Sculpture-Bronze

Hellenistic marble statue known as Medici Venus

Venus standing. Copper alloy. 1st-nd centuries. Magne collection. Coming from: Place du Panthéon, 1899. Paris, Carnavalet Museum. Coming up Copper alloy, antiquity, love love, Roman divinity, statuette, ancient

Bronze figurine of Mars the ancient Roman god of War

Europe (part of a set) 1763-67 Nymphenburg Porcelain Manufactory. Europe (part of a set) 202352

Minotaur or Faun and Nymph. Auguste Rodin (France, Paris, 1840-1917). France, circa 1886. Sculpture. Bronze

Mercury, Hendrick de Keyser (I), 1611 Mercury stands on a square stand, rest on the right leg and has placed the left forward. The upper body leans slightly slightly backwards, the head a little forward and three -quarters to the right, the mouth is half open. In his right hand he holds a part of the Caduceus (), In the left, which stands in the side, a whistle (). On the curly hair, which depends on the neck, is slanted the petasus, which has two volute -shaped grooves at the front, each transfer in a wing. The monogram HDK and 1611 on the standing surface for the feet. Amsterdam bronze (metal) casting Mercury stands on a square stand, rest on the right leg and has placed the left forward. The upper body leans slightly slightly backwards, the head a little forward and three -quarters to the right, the mouth is half open. In his right hand he holds a part of the Caduceus (), In the left, which stands in the side, a whistle (). On the curly hair, which depends on the neck, is slanted th

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia99. 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.

Dancer Looking at the Sole of her Right Foot, 1896-97. Edgar Degas (French, 1834-1917). Bronze; overall: 46.4 x 21.6 x 20.3 cm (18 1/4 x 8 1/2 x 8 in.).

Gloria VIctis (glory to the vanquished). Sculpture in bronze, 1874 by French sculptor Antonin Mercie (1845-1916). German Historical Museum. Berlin. Germany.

Venetian 16th Century, Mercury, second half 16th century Mercury

The Shade. Auguste Rodin (France, Paris, 1840-1917). France, Paris, first modelled circa 1880, enlarged circa 1901, this cast 1969 (Musée Rodin 6/12). Sculpture. Bronze

Figure of Admiral George Rodney ca. 1785 Pierre Stephan French. Figure of Admiral George Rodney 37

Bookend. Culture: British (American market). Dimensions: 6 1/2 x 7 in. (16.5 x 17.8 cm). Date: 1800-1830. Museum: Metropolitan Museum of Art, New York, USA.

Statuette of Herakles 400 BCE-200 BCE Etruria. Bronze . Ancient Etruscan

Ecorché after 1761 Michael Henry Spang. Ecorché 195365

Neptune mid-16th century Southern German With its spouted base (thus clearly from a table fountain), this has all the vigor and humor that characterize the best of sixteenth-century German bronze statuettes.. Neptune. Southern German. mid-16th century. Bronze. Sculpture-Bronze

Statuette of Zeus. Unknown, Roman, 1st or 2nd century A.D. copy after a Greek original of the 4th century B.C.. Sculpture. Bronze

'The Farnese Bull'. Italy. Florence, 1613. Dimensions: height 48,0 cm; 35,0x36,0 cm (pedestal). Museum: State Hermitage, St. Petersburg.

Henri Allouard (1844-1929). Portrait of Jean Goujon (around 1510-1566), sculptor. Bronze patinated plaster. 1910. Paris, Carnavalet museum. 60825-1 Women's bust, hammer, bronze patina plaster, French sculptor, statue

The Lost Pleiad, 1874 (modeled), Randolph Rogers, American, 1825-1892, 90 x 51 in. (228.6 x 129.54 cm), Marble, United States, 19th century, The Lost Pleiad represents Merope, one of the seven daughters of the god Atlas and the sea nymph Pleoine. She and her sisters form the group of stars known as the Pleides, but Merope is seldom visible because, unlike her sisters, she married a lowly mortal and therefore hides herself in shame. Rogers portrayed Merope as a voluptuous seminude figure in search of her heavenly family. He imparted a windblown movement through the exaggerated twist of her figure, her fluttering hair and drapery, and the puffy clouds billowing below her.

Paramythia - Aphrodite , Antiquities, Sculpture, Goddesses, Aphrodite Greek deity. Nicholas Catsimpoolas Collection

Sculpture of Atlante, A character of Ancient Greek mythology. Marble. Only the head and body are of the original Greek sculpture. The rest is Roman replica. Acquired in Rome by Cardinal Mazarin, it was purchased in 1665 for Louis XIV.

Neapolitan fisherman playing with a tortoise', 1833. Artist: Francois Rude. Francois Rude (1784-1855) was a French sculptor, best known for the Departure of the Volunteers, also known as La Marseillaise on the Arc de Triomphe in Paris.

St. Paul the Hermit, 1772, Andrea Bergondi, Italian, 1722-1789, Marble, Italy, 18th century, Saint Paul from Luxor in Egypt was the first Hermit saint of Christianity.

Allegorical Group (Jean de la Fontaine's 'Fortune and the Young Child' (). Jean-Jacques Pradier (circle of) (called James Pradier) (France, Geneva, active France and Switzerland, 1790-1852). Switzerland, circa 1830-1840. Sculpture. Bronze

Astronomy, Venus Urania, Anonymous, 1700 - 1900 Standing young woman in contrapposto, with lifted left leg, leaning on a turned triangular block; Next to it a globe and on the block a large shelf on which the woman supports her left hand. A drapery around it. Her right hand rests on her left shoulder, the head is used to the right. The whole stands on an integral square pedestal with turned corners. The statue goes back on Giambologna's bronze astronomy (or: Venus Urania, ca. 1575, original 38.8 cm high, art -historical museum, Vienna, inv. No. PL 5893). Dieppe ivory Standing young woman in contrapposto, with lifted left leg, leaning on a turned triangular block; Next to it a globe and on the block a large shelf on which the woman supports her left hand. A drapery around it. Her right hand rests on her left shoulder, the head is used to the right. The whole stands on an integral square pedestal with turned corners. The statue goes back on Giambologna's bronze astronomy (or: Venus Urani

musing', by fritzKlimsch, Published in 'Die Kunst im deutschen Reich' (Art in the German Reich) was first published in January 1937 by Gauleiter Adolf Wagnerand later issued under the direction Adolf Hitler himself.

Roger and Angelica Mounted on a Hippogriff modeled perhaps ca. 1840 or in 1846, cast probably before 1847 Antoine-Louis Barye French In 1838 Barye obtained a commercial patent for casting small bronzes, and by 1845 he had formed a partnership with the entrepreneur Emile Martin for the purpose of producing small bronzes in quantity for middle-class collectors. Barye soon began to market his bronzes with the aid of a series of catalogues that permitted the purchaser to order from a variety of models. The earliest catalogue was published in 1844. The catalogue of 1847 stated that each bronze would be numbered and punch marked, but the marking system was quickly abandoned, perhaps because of its very success. After Barye's death, the models were bought by a number of founders, some of whom continued to use them for many years.. Roger and Angelica Mounted on a Hippogriff 191584

Auguste Rodin, Iris, 1850-1917, bronze.

Kneeling Satyr, c. 1520. Severo da Ravenna (Italian, c.1496-c.1543). Bronze; overall: 23.4 cm (9 3/16 in.).

Final Study for the Monument to Balzac modeled 1897, cast 1972 Auguste Rodin French In 1891 Rodin was commissioned to construct a posthumous monument to the illustrious literary figure Honoré de Balzac. It took the sculptor seven years to arrive at the final study from which this bronze was cast. Gaze fixed toward the horizon, a disheveled Balzac leans back, his body transformed by a shapeless oversize dressing gown into a dense and formidable monolith. Today Balzacs shrouded figure is understood to be symbolic of the authors imposing genius. Contemporary viewers, however, were baffled by its inarticulate form. The work provoked harsh criticism upon its debut in 1898, but Rodin defended it, explaining that "a man celebrated for his heart and mind should not be [represented by his body." Listen to experts illuminate this artwork's story Listen Play or pause #2193. Final Study for the Monument to Balzac Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio t

Antoine Louis Barye, Juno, model c 1840, cast by 1873 Juno

Jean-Baptiste Carpeaux (1827-1875). Ugolin and her children. Patinated plaster, 1857-1862. Museum of Fine Arts of the City of Paris, Petit Palais. 79392-7 Child, hunger, infanticide, struggle, murder, die, gibelin party, father and child, tragedy, kill, 19th XIX 19th 19th 19th 19

Anonymous. "Saint Georges". Waxed and tinted wood. S.D. Museum of Fine Arts in the city of Paris, Petit Palais. 71433-24 Armor, wax wood, dragon, saint, shade, terrouir, kill, launches

DESNUDO DE MUJER. Author: HONORIO GARCIA CONDOY (1900-1953). Location: MUSEO REINA SOFIA-ESCULTURA. MADRID. SPAIN.

Standing Boy 12th-14th century() Indonesia (Java). Standing Boy 39071

The Slave; L'Esclave. Pablo Gargallo (1881-1934). Bronze with a brown patina. Conceived in 1924 and cast in an edition of 7. 32.5cm. high

BUEN PASTOR - SIGLO IV - MARMOL BLANCO - 67x32 cm - ESTILO PALEOCRISTIANO. Location: PALACIO PILATOS. Sevilla. Seville. SPAIN.

Florentine 16th Century, The Baptism in the Jordan, 16th century The Baptism in the Jordan

Corner of a room with two bronze statues, on the right Venus Marina; Masters of the Bronze of Italian Renaissance. .

The Sacrifice of Jephthah's Daughter. Artist: Massimiliano Soldani (Italian, Montevarchi 1656-1740 Montevarchi). Culture: Italian, Florence. Dimensions: Overall (confirmed): 18 1/8 x 17 1/4 x 10 7/8 in. (46 x 43.8 x 27.6 cm). Date: probably modeled 1725, cast 1730-37.Twelve sculptures of religious subjects made for the electress palatine, Anna Maria Luisa de' Medici, between 1722 and 1725 constitute the most significant commission of Florentine bronze groups of its time. The sculptures were not linked by a specific program but shared a pictorial attitude characteristic of the period. Surveying the series in 1976, Jennifer Montagu cited documents indicating that the bronzes, made by the city's leading sculptors, Massimiliano Soldani Benzi, Antonio Montauti, Giuseppe Piamontini, Giovanni Battista Foggini, and Agostino Cornacchini, were exhibited in various rooms of the electress's apartment in the Palazzo Pitti, Florence.1 Four of them stood on bases of ebony and lapis lazuli ornament

Bacchante with a Goat. Dated: 1796, cast 1798. Dimensions: height with base: 41.4 cm (16 5/16 in.). Medium: bronze. Museum: National Gallery of Art, Washington DC. Author: Philippe-Laurent Roland.

Laocöon; Giovanni Battista Foggini, Italian, 1652 - 1725; Florence, Italy, Tuscany, Europe; about 1720; Bronze; Object: H: 56 x W: 44 x D: 21.9 cm (H: 22 1/16 x W: 17 5/16 x D: 8 5/8 in.), Socle: H: 14.4 x W: 52.5 x D: 30 cm (H: 5 11/16 x W: 20 11/16 x D: 11 13/16 in.)

Laocoön; Giovanni Battista Foggini (Italian, 1652 - 1725); Florence, Tuscany, Italy; about 1720; Bronze; 56 x 44 x 21.9 cm (22 1,16 x 17 5,16 x 8 5,8 in.)

EL OSO Y EL MADRONO EMBLEMA DE MADRID. Location: PRIVATE COLLECTION. MADRID. SPANIEN.

Edgar Degas, The Bow, 1880s 1890s The Bow

Saint Mary Magdalene 16th century German. Saint Mary Magdalene 464444 German, Saint Mary Magdalene, 16th century, Boxwood, Overall: 4 1/4 x 4 1/16 x 1 7/16in. (10.8 x 10.3 x 3.7cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917 (17.190.470)

ESCULTURA-MUJER SENTADA. Author: CRISTINO MALLO-CRISTINO GOMEZ GONZALEZ. Location: PRIVATE COLLECTION. MADRID. SPAIN.

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