Information obtained from Artstor archives.
This beautiful piece by artist, Claude Michel Clodion whom was born on December 20, 1738 is one of classical lines and renaissance ideals. A sculpture that is supposed to represent the position of fall in the seasonal calendar. We come to understand this in the book written by Micheael Preston Worleys. It is entitled “Pierre Julien: sculptor to Queen Marie-Antoinette”
and was written in 2003. He makes the statement “Clodion’s Erigone exists in three verisions: terracottas in the Stockhom museum (1777) and the Petit palais, Paris, signed and dated 1783, as well as a life-size plaster version in the Chateau of Maisons-Laffitte., finished 1782.” He goes on to inform the reader that this in one of the four seasons and commonly known as autumn. It has reminders that hearken back to the renaissance piece the birth of Venus.
The symbolism of the shell in the background and the sea monsters in the upper corners of the piece bring the sea and its bounty as well as its dangers to life. This very classical beauty is carved from white marble in an alcove of a perfect archway. The architecture that this statue stands with is a minimalist work of art showing off our lovely Venus to her best light. She seems to be holding back the potential disaster while offering the rewards to be had.
Anatomically correct and yet still a work of idealism. We seem to see a goddess that is both at rest while her face is showing worry and contemplation. The cloth that is being used to cover her innocence is fighting a losing battle. It appears tattered and tore as if the god’s demanded to know her intimately as she is both covered and yet revealing her underline form.
Clodion created this piece to be tucked away in “In a niche in the summer dining room of the Comte d'Arto”, according to the libraries information on this piece in their collection. I tried to find out more about this piece what I discovered is that this artist is very well known and traded. After his death on March 28th, 1814 in Paris his use of rococo era while supported by the patronage of the King. This was a very interesting paper to write. I learned that Clodion worked in many satyrs in his work with beautiful nude female forms. He seems to be saying the female is delicate and should be treated as such. For without the strength of men she should be overcome by the evils of the world and cease to exist.
Hi Joy! Your ARTSTOR image isn't appearing on my end, but I assume that you are writing about this version of Erigone (in the Maisons Laffitte collection).
ReplyDeleteThe niche in which this sculpture is currently displayed is quite appropriate for the subject matter, since it is decorated with a shell. Shells often appear in niches at this time (especially to designate a sacred space in architecture). In this case, though, it seems like the shell is being used to make a fashionable statement, since shells are a common motif in Rococo art.
-Prof. Bowen
FYI: In my previous comment, the words "this version" are a hyperlink to an image.
ReplyDelete-P.B.
It’s interesting how there is much more of a sense of drama and emotion with this sculpture of Venus compared to Praxiteles Aphrodite, who is very composed and seems much more static. Venus appears more dramatic with her angled arms pointing in opposite directions and even her garment gives a sense of movement. The wind seems to be blowing the cloth and form these great diagonals with the creases of the fabric.
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