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BEST WORKS OF SCULPTURE
For a list of the world's top 100
3-D artworks, by the best sculptors
in the history of art, see:
Greatest Sculptures Ever.
MEDIEVAL SCULPTURE
For details of the plastic arts during
the Middle Ages, see these resources:
Medieval Sculpture (c.400-1000)
From Late Antiquity to Romanesque
Romanesque Sculpture (1000-1200)
Rounded-arch Architecture/Sculpture
Gothic Sculpture (1150-1280)
Cathedral Art, Ile de France.
Renaissance Sculptors
From Italy, France & Spain.
EVOLUTION OF SCULPTURE
For details of the origins and
development of the plastic arts
see: History of Sculpture.
BEST SCULPTORS
For a list of the world's most
talented 3-D artists, see:
Greatest Sculptors.
SCULPTING MEDIA
For different types of carving,
and modelling, see:
Stone Sculpture
From igneous, sedimentary,
and metamorphic rocks.
Marble Sculpture
Pentelic, Carrara, Parian marbles.
Wood Carving
Chip carving, relief carving of
softwoods and hardwoods.
Bronze Sculpture
Lost-wax casting method,
sandcasting, centrifugal casting.
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Early Sculptures
One of Duquesnoy's early works includes
the Bacchanalia of Putti (1630, Galleria Spada, Rome), a marble
bas-relief. Duquesnoy collaborated with Bernini and Poussin on the design
and subject matter. The four angels in the relief received popular acclaim
and helped Duquesnoy receive further commissions. Around the same time,
he was commissioned to restore an ancient marble statue known as the Rondanini
Faun (1625-30, British Museum, London). He amplified the torso into
a characteristically Baroque expansive gesture, which suited contemporary
taste but which was bitterly criticised by Neoclassicists at the end of
the 18th century. As headless statues were not considered interesting,
it was quite common for ancient works to be 'restored' at the time in
this way. Duquesnoy also restored a Roman torso of Adonis, which is now
in the Louvre.
Statues of Saint Susanna and Saint Andrew
The Statue of Saint Susanna (a virgin
matryr) was little known until the 18th century when a marble copy by
Guillaume Coustou was sent to Paris. After this, it received much critical
acclaim. Duquesnoy's Susanna, stands calmly looking down at the crowds
below. Her expression is sweet and softly depicted. Her empty gaze is
mesmerizing.
Duquesnoy's Statue of Saint Andrew
was created for one of the four corners of the crossing of Saint Peter's
Basilica. The other three corners were decorated by statues of Bernini:
Saint Longinus, Veronica and St Helena. Duquesnoy
was apparently annoyed when Bernini insisted on having his statue of Saint
Veronica in the only corner which receives direct sunlight. According
to Duquesnoy’s diarist, John Evelyn, it is said that Duquesony 'died
mad' because his St Andrew 'was placed in a bad light'. Although both
artists are classified as Baroque, Bernini's figures are more dramatic,
arms flung theatrically outwards, whilst Duquesnoy's Saint Andrew is more
restrained.
Other Works
Duquesnoy's reputation was also advanced
by his production of numerous smaller sculptures - reliefs, figurines
and statuettes of religious subjects in wood, ivory, bronze, terracotta
and wax. Representative works by him can be seen in the best
art museums around the world, including: a marble, bas-relief Victory
of Sacred over Profane Love (1630, Galleria Spada, Rome); Bust
of Antoine Triest (Louvre) and a small bronze statue Mercure et
l'Amour (Louvre).
In 1643, Duquesnoy was about to sail for
France, Poussin had recommended him to become royal sculptor to Louis
XIII with the goal of founding a Royal Academy of Sculpture in Paris.
However, just before the journey began, Duquesnoy died, having suffered
from gout and depression for years - no doubt aggravated by the news that
his brother, Jerome Duquesnoy I (1602-54) also a sculptor, was executed
by strangulation for committing sodomy in a church.
Legacy
Duquesnoy's characteristic putti, which
were plump and carefully observed from living children influenced other
important artists, including the Flemish virtuoso Peter Paul Rubens (1577-1640)
who received a cast of the Bacchanalia of Putti. Duquesnoy’s
most influential students were Artus Quellinus, who bought Duquesnoy's
classical Baroque style back to Amsterdam with him; and Orfeo Boselli
who would go on to write works which would influence the development of
Neoclassicism in later years.
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