Roman Portrait Bronze

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Roman Portrait Bronze

2450,00

A bronze portrait of a man from the Roman Imperial Hadrian period, circa early 2nd century AD. (from the grand tour period 19-20th century). The sculpture shows a vibrant deep green patina. Bronze is in excellent condition, very solid and perfectly stabilized.

Height including foot: 50 cm (head 33 cm)

This piece has the background that it is a souvenir of the Grand Tour through Italy in the period 18-19th century.

 

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SKU: MUNUS1245 Categories: ,

Description

A bronze portrait of a man from the Roman Imperial Hadrian period, circa early 2nd century AD. (from the grand tour period 19-20th century). The sculpture shows a vibrant deep green patina. Bronze is in excellent condition, very solid and perfectly stabilized.

Height including foot: 50 cm (head 33 cm)

This piece has the background that it is a souvenir of the Grand Tour through Italy in the period 18-19th century.

In the eighteenth century, the 'Grand Tour' became a mandatory requirement of aristocratic status and sophistication for both men and women. The idea was that the journey, which could last more than three years, would educate the individual in the ways of the world; culture, history and conviviality. In addition, the studious observer would be able to relate his experiences to the less fortunate who were unable to travel, therefore encouraging a sense of educational obligation.

The Grand Tour travel recall was an essential part of eighteenth-century sociability and an indulgent topic, but a common topic of conversation in an era when conversation was arguably the most important tool of social intercourse. Samuel Johnson noted that in 1776

"A man who has not been to Italy is always aware of an inferiority because he has not seen what a man would expect."

In this way, the Grand Tour reflected many aspects of the so-called 'Renaissance Man' who essentially equates knowledge with status and power.

One of the results of such a quest for knowledge and self-fulfillment was the abundance of European fine and decorative arts in England, as these Grand Tourists preferred to bring back souvenirs as visual manifestations of their superior education. Many of these were representations of 'modern' cities they had visited, but there were several rediscoveries of classical antiquity during the eighteenth century, such as Pompeii in 1748, which nurtured the centrality of antiquity in taste and fashion.

This encouraged the crafting of objects in direct imitation of their real, ancient counterparts, such as Boschetti's bronze sculptures, Wedgewood's Portland Vase, and Grand Tourists' portraits of Battoni in classical ruins, which house the homes of England's richest subjects. filled.

Usually an itinerary involved traveling through Belgium, France, Switzerland, crossing the Alps to Italy and on to Greece and Egypt where they would then return to England via Austria, Germany and the Netherlands. The Grand Tour remained an important part of elite education throughout the early nineteenth century and was soon made even easier after the advent of the railways. While this cheaper mode of transportation allowed more people to embark on a Grand Tour, it remained a symbol of wealth and prestige.

Today the legacy of what is essentially an eighteenth century 'gap year (or two)' is the presence of many outstanding European fine and decorative arts in English collections. Despite their appeal to Grand Tourists, these objects were made by highly skilled craftsmen and had to be exceptional to appeal to the wealthiest members of English society. Coming together from all over Europe, they represent an important moment and social practice in history and their continued popularity is a testament to both the continued appeal to classicism and the pursuit of self-collection.

Additional information

Weight 15 kg
Dimensions 45×45×45 cm
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