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Francois Pompon: Sculpture "Little Polar Bear", artificial marble

Francois Pompon:
Sculpture "Little Polar Bear", artificial marble

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163,00 EUR

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Order-nr. IN-373758
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Museum Replica | Artificial Marble | Handmade | Format 23 x 11.5 x 6 cm (W/H/D)

http://www.arsmundi.com/

Francois Pompon: Sculpture "Little Polar Bear", artificial marble

For 15 years, François Pompon played an important role for the success of Auguste Rodin's sculptor studio. He developed his own distinctive style and with his polar bear he created an unexcelled prototype of an animal sculpture, which radiates power and modernity at the same time. The polar bear as a milestone of modern sculpting was the centre of the collection of the Metropolitan Museum of Art.
Original: MMA, New York.

Fine art replica in bounded marble. For high authenticity, details have been worked out by hand. Size 23 x 11,5 x 6 cm.

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Marble powder bound by a polymer. Artificial marble is characterized by a fine white surface that comes very close to marble.

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Polymers

The mold is usually taken directly from the original, so that the replica reproduces even the finest details. After casting the replica, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.

A replica of ars mundi is a recognizable image of the original.

A plastic work of sculptural art made of wood, stone, ivory, bronze or other metals.

While sculptures from wood, ivory or stone are made directly from the block of material, for bronze casting a working model is prepared at first. Usually it is made of clay or other easily shaped materials.

The prime time of sculpture after the Roman antiquity was the Renaissance. Impressionism gave a new impulse to the sculptural arts. Also the contemporary artists, such as Jorg Immendorf, Andora, and Markus Lupertz enriched the sculpture with outstanding works.

The style of Impressionism that emerged in French painting in 1870 owes its name to the Claude Monet's landscape 'Impression, Soleil Levant'. After initial refusal it began a true triumphant advance.

Such painters as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in a bright, natural light.

Impressionism can be seen as a reaction to the academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in its whole color variety in natural lighting. The studio painting was replaced by the open-air painting.

The brightening of the palette and the dissolution of firm contours was accompanied by a new way of handling with color. Often, the colors were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the beholder with a certain distance. In "Pointillism", (with such painters as Georges Seurat or Paul Signac) this principle was carried to the extreme.

Outside France, Impressionism was taken up by such painters as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.

In sculpture, the impressionism expressed itself only conditionally. In the works of Auguste Rodin, who is considered one of the main representatives, you can see a resolution of the surfaces in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.

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