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Emmanuel Frémiet (1870-1940) Gilded Bronze Merovingian Rider
Elegant 19th-century equestrian sculpture in gilded bronze signed FRÉMIET ( Emmanuel Frémiet 1870-1940) and bearing the handwritten stamp of founder Ferdinand Barbedienne, depicting a rider presumed to be Vercingétorix on horseback. This bronze is still very popular today, not only for its naturalistic style, but also for its attention to detail in the outfits of the Druid and his mount. Precise workmanship punctuates the dynamic effect emanating from this imaginative composition. The work rests on a cherry marble base adorned with a dedication. Good overall condition, beautiful gilding. Dimensions: 45 cm high X 29 cm long X 11 cm deep.
Related literature: -Catherine Chevillot, Emmanuel Frémiet, La main et le multiple, cat Exp. Musée des Beaux- Arts de Dijon- Musée de Grenoble, 5/11/1989-16/01/1989 and 20/02/1989-30/04/1989, model listed under n°S 232, ill. Cat. 91b, p. 117.
Emmanuel Frémiet was able to impose his style, quite different from that of the benchmark in animal art at the time. He did his first apprenticeship with his aunt Sophie Rude, painter and wife of the sculptor of the Départ des volontaires de 1792 de l'Arc de triomphe. The beginnings were difficult, however, and he had to accept a variety of arduous jobs, such as being employed at the morgue to paint corpses. But the man was tenacious. His perseverance finally enabled him to enter Rude's studio, and to exhibit his work for the first time at the Salon of 1843. Animal subjects dominated the first part of his work, now famous thanks to his Jeanne d'Arc on rue de Rivoli and his Renommées figures adorning the Alexandre-III bridge.
Related literature: -Catherine Chevillot, Emmanuel Frémiet, La main et le multiple, cat Exp. Musée des Beaux- Arts de Dijon- Musée de Grenoble, 5/11/1989-16/01/1989 and 20/02/1989-30/04/1989, model listed under n°S 232, ill. Cat. 91b, p. 117.
Emmanuel Frémiet was able to impose his style, quite different from that of the benchmark in animal art at the time. He did his first apprenticeship with his aunt Sophie Rude, painter and wife of the sculptor of the Départ des volontaires de 1792 de l'Arc de triomphe. The beginnings were difficult, however, and he had to accept a variety of arduous jobs, such as being employed at the morgue to paint corpses. But the man was tenacious. His perseverance finally enabled him to enter Rude's studio, and to exhibit his work for the first time at the Salon of 1843. Animal subjects dominated the first part of his work, now famous thanks to his Jeanne d'Arc on rue de Rivoli and his Renommées figures adorning the Alexandre-III bridge.
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