Goats & Goats with cubs, Johann Joachim Kaendler, Meissen, 1732 & 1734
Goat, Johann Joachim Kaendler (modeller), Meissen, to 1734. Porcelain, white, (formerly painted black). H. 57.2 cm, 72.0 cm L. PE 47. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013
Goat, Johann Joachim Kaendler (master model), Meissen, 1732. Porcelain, white. H. 56.5 cm, L 74 cm, D 36 cm. PE 713. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013
As a counterpart to the goat with the little goats of the goat is designed, like the goat backwards turns his head so that a tense dynamic between the two characters is established by the body posture and gaze direction, and this can be presented as a pair. The buck with the strong curved horns and curly at the ends is on the ground with your knees bent. The individual parts of the body are under the falling in long wavy strands of hair for more than just an idea to really see. Only the slightly open muzzle, eyes and ears, the tail is writhing up and the naked scrotum emerge from the amorphous mass. The inventory of the Japanese Palace in 1770 and 1779 recorded exclusively painted with paint color copies, under the number "N = 178.w" "drey lying white goat bucks, it laquirt, defect" and the number "N = 262.w" Zwey black goats, 1.Stück defect ". In the summer of 1730 probably August the Strong had the idea itself, in the great gallery of the Japanese Palace on the city side "all kinds of large and small animals", as she calls an order of porcelains of 1732 to set up. Among European palaces of the baroque interior design this would have been unique. As a prelude precedes the royal apartment, the visitors to 292 birds and 276 animals should - between, among others still at well over a hundred individual vases - stroll past. Exotic and indigenous creatures took turns and were faithfully painted in bright colors, which are now largely lost. In addition to two copies in the porcelain collection of the Victoria & Albert Museum in London and the Philadelphia Museum of Art each have a further embodiment of the Goat.(Catalogue "The Triumph of the Blue Swords", Cat 310, 2010, Alfred digit)
Goat with cub, Johann Joachim Kaendler (modeller), Meissen, 1732. Porcelain, white. H. 48.5 cm, L 66 cm, D 36 cm. PE 700. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013
In the artistic exaggeration by the sophisticated, imaginative arrangement of the spatial and physical relationships of the goat to her boy Johann Joachim Kaendler great sculptural power is evident. Not only it achieves a compositionally entanglement and interlocking of the two bodies by allowing the boy to climb over the back of the goat and drink from the top of the udder, while the mother tenderly licking the boy. And content builds Kaendler on a relationship that is determined by instinct or feeling.Thus, the image content finds its perfect counterpart in the compositional idea of the outer shape.
Goat lying with cub, Johann Joachim Kaendler (modeller), Meissen, 1732. Porcelain, remnants of cold enamel. H. 46 cm L. 65 cm. PE 5739. Porcelain Collection. © Staatliche Kunstsammlungen Dresden 2013
The counterpart to the Kaendler also created by 1732-goat is the goat with cub. In the report of the Meissen factory from August 1732, however, only the goat is mentioned: "However, the Modellirer Kentler poussiret to some models and gefertiget ... an old along with a young goat "(archive SPMM. IAa AA, 18 fol 208R). In the inventories of the Japanese Palace of 1770 and 1779 a total of five such goats are recorded, three white and two painted with paint colors. In the artistic exaggeration by the sophisticated, imaginative arrangement of the spatial and physical relationships of the two animals to each other Kaendler large sculptural performance is evident. Not only compositionally it reaches a entanglement and interlocking of the two bodies by allowing climbing the boy on the back of a goat and drink from the top of the udder, while the mother with backward inverted head the boy licks tenderly, and content builds Kaendler a relationship , which is determined by instinct or feeling. Thus, the image content finds its perfect counterpart in the compositional idea of the outer shape. This model carries traces of old paint colors paint.