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Judith the model returns

Alfred George Stevens has graced these pages twice before.  Once with a beatific portrait of Judith (“Judith is beautific“) and once with this same model shown today (“Judith the model“).  He obviously had a high opinion of the heroine.

 

Judith (1862) Stevens

Alfred George Stevens, Model of “Judith” for the Dome of St Paul’s, c.1862, Bronze, 42.5 x 22.5 cm, Victoria and Albert Museum, London, England, UK

 

I still cannot find any confirmation that Judith ever made it to the dome of St. Paul’s, so I am assuming she did not.  And then to be stuck back in storage … how sad. The V&A also owns the 24 cm plaster cast sketch model, also in storage.  But hey! At least she gets remembered here.

See you at the V&A!

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Posted by on April 14, 2015 in Exploring

 

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Judith … and not much else

Some days, you just run out of things to say.  This is one of those days.

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Unknown artist, “Judith with the Head of Holofernes,” ca. 1550, Carved marble statuette, 48 cm, Victoria and Albert Museum, London, UK

 

The V&A website describes this as a statuette (a little statue) made of marble (a metamorphic rock) and carved in the round.  “The sculptor has paid great attention to detail, both on the front and back, where he has continued the fine floral pattern on the robe. He apparently used chisels for finishing the surface of the carving … The face and proportions of Judith’s figure reflect the decorative work at Fontainbleau.”

Decorative work at Fontainbleau?  What does that mean and how do they know that?

So I will take a stab at fleshing it out.  “Fontainbleau” (I assume) refers to the Château de Fontainebleau — the 12th century medieval castle and later residential château of French monarchs from Louis VII (1120-1180) through Napoleon III (1808-1873).  It was the center of two periods of artistic production in France during the late Renaissance that formed the French version of Northern Mannerism known as Ecole de Fontainebleau.  The first (and most influencial) period began in 1531 when King François I brought Italian artists Rosso Fiorentino and Francesco Primaticcio for extensive decoration of the palace — later joined by Niccolò dell’Abbate.  Their style was characterized by erotic figures with long limbs and sharply defined elegant profiles, imbued with an elaborate and sometimes mysterious iconography from allegories and mythology.  One of the best examples of the first Ecole de Fontainebleau is Diana the Huntress, found in the Louvre.

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Ecole de Fontainebleau, “Diana the Huntress,” ca. 1550 and 1560, oil on canvas, 192 x 133 cm, Louvre, Paris, FR

 

So somehow from looking at the statuette of Judith — the turn of her head, the shape of her breasts, the design chisled into her gown — an art historian can connect her to this style.  I sort of see it … and I sort of don’t, so I will take their word for it.  And hope that seeing her in person adds more to what can be said.  Until then …

See you at the V&A!

 
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Posted by on April 8, 2015 in Exploring

 

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Judith trades a head

Judith (1989) Peter Makolies

Peter Makolies, “Judith and the head of Holofernes,” 1989, Sandstone, Height: 85 cm, sold by Sabatier Galerie & Kunsthandel, Verden, Germany

Looks like Judith gained Holofernes’ head but lost her own.

 
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Posted by on April 2, 2013 in Whorey

 

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Judith switch hits

Francisco Masriera Y Manovens, “Judith,” 1889, Oil on tablex, 32.3 x 21 cm, auctioned by Subastas Segre, May 24, 2011 (Lot 56), Madrid, Spain

First up is Francisco Masriera y Manovens – from a group of Catalan artists that made an international reputation with Orientalism.   In this Judith, his luminous and strong colors are obvious in her attire.  And then her attitude with right hand on her hip and the left on the hilt of the fauchion.

Emmanuel Hannaux, “Judith with the Head of Holofernes,” Bronze, patinated, 69 cm high, auctioned by Nagel, Mar 26, 2009 (Lot 1098 ), Nuremberg, Germany

Next is Emmanuel Hannaux – who specialized in busts, classical figures and allegorical groups.    In this Judith, there is no colorful clothing but her attitude is the same – with her left hand on her hip and the right on the hilt of the fauchion.

What a talent.

 
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Posted by on March 6, 2013 in Cacciatore

 

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Judith strikes a pose

It must have been a popular pose.    And impossible to tell which work of art came first.    But it is fortunate for Judith that the fauchion has a scabbard.

Emile Coriolan Hippolyte Guillemin, “Judith,” Bronze, red and polychrome patinate, 46 in. high, auctioned by Cowan’s, July 31, 2010 (Lot 272), Cincinnati, Ohio, US

Louis Hottot, “Judith et Holopherne,” Bronze and polychrome patinate, 44 cm, auctioned by Drouot Richelieu, Dec 14, 2009 (Lot 48), Paris, France

Nathaniel Sichel, “Judith,” Oil on canvas, 180 x 111 cm, auctioned by Sotheby’s, Jun 2, 2010 (Lot 165), London, UK

 
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Posted by on March 5, 2013 in Cacciatore

 

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Judith: stone cold sober

Orazio Andreoni, “Judith,” 19th century, White marble bust, 86.5 cm high, auctioned by Sotheby’s, Nov 16, 2006 (Lot 42), London, UK

And wouldn’t you be stone cold sober with the hilt of a massive fauchion protruding from between your breasts?

$45,469.53 ($28,000 GBP)

 
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Posted by on March 3, 2013 in Whorey

 

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Judith takes it lying down

Santiago Rodrigues Bonome, “Judith,” 1930, Bronze, patinated, 23 inches, auctioned by Heritage, Nov 1, 2007 (Lot 33755), Dallas, Texas, US

Men are so fickle.  First they want the nice Green Patina on a heroic “Judith” – sold for $1500.  And then they want a Brown Patina on the seductress “Salome” – going for $3000 to $4000.  Can’t they tell it’s the same woman?!

Santiago Rodrigues Bonome, “Salome,” 1930, Bronze, brown patinated, 23 inches, auctioned by Christie’s Mar 10, 2009 (Lot 41), Amsterdam, The Netherlands

 
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Posted by on February 26, 2013 in Whorey

 

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