Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 
 

 
 

CHAPTER THREE
 

POST-IMPRESSIONISM, SYMBOLISM,

AND ART NOUVEAU


PAINTING

SCULPTURE - Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11

ARCHITECTURE - Part 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12

PHOTOGRAPHY

 


SCULPTURE

 

MINNE.

The youngest of Belgian nineteenth-century sculptors and, during the first dozen years of his career, the most original was
Georges Minne (1866-1941). Minne contributed woodcut illustrations to books by his friends the Belgian Symbolist writers Maurice Maeterlinck and Emile Verhaeren, who introduced him to Les Vingt (The Twenty), a group of Belgian avant-garde artists, and it was at their annual exhibition in 1890 that Minne first presented his sculpture. Kneeling Boy (fig. 1011), on which his fame rests, shows a state of brooding calm, but the haggard, angular limbs reflect Gothic, not classical, influence, and the trancelike rigidity of the pose suggests religious meditation. The statue became the basis for a fountain design with five kneeling boys grouped around a circular basin as if engaged in a solemn ritual. By treating the figure as an anonymous member of a rhythmically repeated sequence, Minne heightened its mood of ascetic withdrawal.



1011.
Georges Minne. Kneeling Boy. 1898. Marble, height 78.7 cm. Museum voor Schone Kunsten, Ghent
1011.
Georges Minne. Kneeling Boy. Bronze.
 

 



George
Minne

(b Ghent, 30 Aug 1866; d Laethem-Saint-Martin, 18 Feb 1941).

Belgian sculptor, draughtsman and illustrator. He studied at the Académie Royale des Beaux-Arts in Ghent (1879–86) and worked in Ghent (until 1895) and Brussels (1895–9) before settling in Laethem-Saint-Martin, a village near Ghent. His first works were delicate sculptures and sparse drawings of grieving and injured figures. The emotional power of these works was recognized by many Symbolist poets including Maurice Maeterlinck, Charles Van Lerberghe and Grégoire Le Roy, who saw in them an expression of their own pessimistic view of life. He illustrated several of their collections of poetry (e.g. Grégoire Le Roy: Mon Coeur pleure d’autrefois (Paris, 1889); Maurice Maeterlinck: Serres chaudes (Paris, 1889)). From 1890 he was involved with the progressive element among the artists and authors of Brussels. He exhibited for the first time that year under the auspices of the avant-garde society Les XX in Brussels, and two years later he participated in the Salon de la Rose+Croix in Paris. His principal supporter was Emile Verhaeren.
 

 

 


Georges Minne
. Man torso. 1910




Georges Minne
. Two Boys in a Boat




Georges Minne
. Mere protegeant ses enfants.
1888




Georges Minne
. Statuette. 1897




Georges Minne
. Les saintes femmes au tombeau ou les trois pleureuses




Georges Minne
. Porteur d'outre.
1897. Musee d'Orsay




Georges Minne
. Adolescent I. 1891




Georges Minne
. Bathing woman




Georges Minne
. Fountain of the kneeling youths





Georges Minne
. Fountain of the kneeling youths

 
 

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