Antique style sculpture from the end of the 18th century
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Carrara marble bust representing a woman with a toga. Resting on a Carrara marble pedestal.<\/font><\/font><\/font><\/p>\n Work from the end of the 18th century<\/font><\/font><\/font><\/p>\n <\/p>\n At the end of the 18th century and during the 19th century, sculptors sought to reconnect with ancient art.<\/font><\/font><\/font><\/p>\n Neoclassicism thus saw the reappearance of the production of sculptures with simple, clear shapes, a balanced appearance and reflecting an aesthetic of classical beauty. In this sense, some of the sculptures from this period are inspired by Greco-Roman works of antiquity.<\/font><\/font><\/font><\/p>\n <\/p>\n Here, in Carrara marble, a young woman presents herself to us.<\/font><\/font><\/font><\/p>\n <\/p>\n Although we can tell from the shape of her chest and the bun in her hair that she is a woman, her face appears somewhat androgynous. His slightly feminine and also slightly masculine features could raise questions for us. This is due to ancient canons of beauty which could represent young and brave men, with fine and delicate features such as those of a woman. Through these physical characteristics, their idealized beauty (proportion, symmetry, perfection) was timeless, so it could be quite difficult to recognize with certainty the genre of the sculpture based only on the head.<\/font><\/font><\/font><\/p>\n <\/p>\n However, here, this woman whose face is perfectly symmetrical, looks delicately to her left. Its features are similar to those of the Venuses and Aphrodites represented in the Ancient era. Her hair, styled in a bun, frames her face like symmetrical waves. A sort of Palla falls delicately from her shoulders revealing her neck. It is held on her left shoulder by a fibula, thus representing the clothing of Rome and Ancient Greece.<\/font><\/font><\/font><\/p>\n Her breasts, delicately sculpted, also seem to us to be a perfect representation, rounded and smooth, enhancing her elegance.<\/font><\/font><\/font><\/p>\n It rests on a Carrara marble pedestal base.<\/font><\/font><\/font><\/p>\n At the top of the head, a circular hole perhaps refers to the presence of a headdress or a particular use of this bust.<\/font><\/font><\/font><\/p>\n <\/p>\n <\/p>\n Work from the end of the 18th century<\/font><\/font><\/font><\/p>\n","protected":false},"excerpt":{"rendered":" Buste en marbre de carrare repr\u00e9sentant une femme \u00e0 la toge. Reposant sur un pi\u00e9douche en marbre de carrare.<\/p>\n Travail de la fin du XVIIIe si\u00e8cle<\/p>\n <\/p>\n A la fin du XVIIIe si\u00e8cle et dans le courant du XIXe si\u00e8cle, les sculpteurs ont cherch\u00e9 \u00e0 renouer avec l’art antique.<\/p>\n Le n\u00e9oclassicisme voit ainsi r\u00e9apparaitre la production de sculptures aux formes simples, claires, \u00e0 l’allure \u00e9quilibr\u00e9e et refl\u00e9tant un esth\u00e9tisme de beaut\u00e9 classique. En ce sens, une partie des sculptures de cette \u00e9poque s’inspire des oeuvres gr\u00e9co-romaine de l’antiquit\u00e9.<\/p>\n <\/p>\n Ici, en marbre de carrare, une jeune femme se pr\u00e9sente \u00e0 nous.<\/p>\n <\/p>\n Bien que nous pouvons affirmer de par la forme de sa poitrine et du chignon dans ses cheveux, que c’est une femme, son visage semble quelque peu androgyne. Ses traits un peu f\u00e9minins et \u00e9galement un peu masculins pourraient nous interroger. Cela est d\u00fb aux canons de beaut\u00e9 antique qui pouvaient repr\u00e9senter de jeunes et braves hommes, avec des traits fins et d\u00e9licats tels que le sont ceux d’une femme. Par ces caract\u00e9ristiques physiques, leur beaut\u00e9 id\u00e9alis\u00e9e (proportion, sym\u00e9trie, perfection) \u00e9tait intemporelle, il pouvait \u00eatre donc passablement difficile de reconna\u00eetre avec certitude le genre de la sculpture en se fiant uniquement \u00e0 la t\u00eate.<\/p>\n <\/p>\n Cependant, ici, cette femme dont le visage est parfaitement sym\u00e9trique, regarde d\u00e9licatement vers sa gauche. Ses traits se rapprochent de ceux des venus et aphrodites repr\u00e9sent\u00e9e \u00e0 l’\u00e9poque Antique. Ses cheveux, coiff\u00e9s en chignon, encadrent son visage telles des vaguelettes sym\u00e9triques. Une sorte de Palla tombe d\u00e9licatement de ses \u00e9paules d\u00e9voilant son cou. Elle est maintenue sur son \u00e9paule gauche par une fibule, repr\u00e9sentant ainsi les v\u00eatements de la Rome et la Gr\u00e8ce Antique.<\/p>\n Ses seins, d\u00e9licatement sculpt\u00e9s nous semblent \u00e9galement d’une parfaite repr\u00e9sentation, arrondis et lisses, sublimant son \u00e9l\u00e9gance.<\/p>\n Elle repose sur un socle pi\u00e9douche en marbre de carrare.<\/p>\n Au sommet de la t\u00eate, un trou circulaire fait peut-\u00eatre r\u00e9f\u00e9rence \u00e0 la pr\u00e9sence d’une coiffe ou d’une utilisation particuli\u00e8re de ce buste.<\/p>\n Travail de la fin du XVIIIe si\u00e8cle<\/p>\n
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