Bertel thorvaldsen escultura aguila

In Greek mythology the boy Ganymede was carried up into the sky, to the home of the gods on Olympus to be the gods’ taster. According to legend it was Zeus, in the shape of an eagle, who took the beautiful boy from Phrygia in the north-western part of Asia Minor (Turkey). The effect of Thorvaldsen’s sculpture is created mostly by the contrast between the smooth skin of the boy and his trusting nature, which is juxtaposed by the detailed rendering of the eagle’s feathers, its harsh look and its sharp beak. Ganymede was to take the place of Hebe as the taster of the gods, because she spilled the drink – the nectar – that made the gods immortal. Thorvaldsen modelled the group sculpture in and it exists in several marble copies.

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In Greek mythology, Ganymede was a prince whom the god Zeus, in the form of an eagle, carried off to Mount Olympus to serve as cupbearer to the gods. Enthusiasm for the art of Greece and Rome revived when the ancient cities of Pompeii and Herculaneum were excavated in the mid 18th to early 19th centuries. Archaeological finds at these sites inspired artists to emulate classical sculpture, which they regarded as the highest representation of ideal nature and beauty. Bertel Thorvaldsen studied and worked in Rome and collected antiquities. His sculptures combine mythological subjects, idealized human forms, realistic details, and smooth marble surfaces to evoke the serenity of the ancient Greek models he admired.

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The Thorvaldsens Museum Archives


Thorvaldsen: Ganymede and the Eagle
Minneapolis Institute of Arts, Gift of The Morse Foundation

Bertel Thorvaldsen () was a man of the people, his mother a Jutland peasant and his father a Copenhagen woodcarver from Iceland. Icelandic genealogists later were to connect the sculptor—beyond his actual descent from decent citizens—with the 12th-century heroic chieftains, one of whom reputedly visited New England. But the Saga actually involved is Thorvaldsen’s own, and concerns the artistic skill and personal tenacity of the child of an unfortunate Copenhagen home who became the most famous sculptor of his day in Europe, and one of Europe’s great masters.
Thorvaldsen quickly proved himself a better sculptor than his father, entered the Danish Royal Academy of Fine Arts (which fully appreciated its promising student) and, in , received its gold medal and three-year travel stipend. This was taken up in to study in Italy, and Thorvaldsen arrived in Rome, the home of sculpture and good technique as it then was, on March 8th, , which thereafter he celebrated as his true birthday. In Denmark the distinguished Danish Neo-Classical painter Abildgaar

Como en la arquitectura, en la  escultura neoclásica pesó el recuerdo arqueológico del pasado, muy presente si consideramos el gran número de piezas que las excavaciones iban sacando a la luz en toda Italia y Grecia a partir de mediados del siglo XVIII, además de las colecciones que se habían ido formando a lo largo de los siglos. El arte clásico ya era muy admirado desde el Renacimiento, pero ahora no sólo era admiración lo que animaba a los artistas, sino también estudio científico, sistemático y racional. Los escritos de Johann Joachim Winckelmann auparon a la escultura griega al supremo ideal estético y pidió a todos los artistas que la imitasen, restaurando un arte idealista.

Johann Joachim Winckelmann. Debajo podéis abrir como curiosidad e incluso descargar un ejemplar de uno de sus libros más influyentes entre los artistas de la época: Monumenti antichi inediti (), donde presenta un esbozo general de la historia del arte.



Las características que debían tener las esculturas neoclásicas eran las siguientes:

  • Sobre el material: las esculturas neoclásicas se realizaban en la mayoría de los casos en mármol blanco, sin policromar, porque a

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