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27 décembre 2017
Adriaen de Vries, Nymph (from bronze group faun and nymph), around 1580-1590
Adriaen de Vries (about 1550-), sculptor, Nymph (from bronze group faun and nymph), around 1580-1590. Bronze, wooden post. H 34.6 cm. Green Vault, IX 20 © Dresden State Art Collections.
The exciting relationship between the two characters is produced in many ways by the attitude of the body, but also by gestures and visual references. The obscene gesture of the satyr, who, as he moves forward with his upper body, turns to the nymph sitting on a draped rock, replies with reference to her reflection in the mirror - in her right hand the beautiful woman with the elaborately raised hair once held a mirror. The twists of the two characters call for the pair to circle, since only the panoramic view reveals all references of the expansive scene: the smoothly turned to the left body of the dancing fauns, his unique character and the surprised-looking face of the just looking nymph with the slightly open mouth. To this day, the interpretation of the group remains which at the beginning of the 17th century was called "Venus and Adonis", unclear. Recently it was interpreted as a virtue-vicious representation. Adriaen de Vries, a disciple of Giambologna, may have been inspired by the Hellenistic marble sculpture of the "tail-haunting Faun", whose composition he developed independently. The twisted figure, also called "figura serpentinata", was regarded as the ideal of Mannerist sculpture at the time of the group's creation. Mastering this trick perfectly, Adriaen de Vries created with his Faun a sculpture that perfectly complies with the artistic demand for omniscience. The graceful group arrived, along with two other versions,
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