Exhibitions in Paris
- January 27, 2020
- William Lewis
France, 17th and 18th centuries
The men’s defender, Titan Prometheus, stole the fire from Mount Olympus. In anger, Zeus punished him with a terrible and cruel punishment. He fastened it to the top of Mount Caucasus, where a eagle would come to fasten his liver daily, which he constantly fills. Prometheus, which strains all its muscles, screams in agony. The device of his crime, the torch, stands at his feet.
Following the establishment of the Academy de France in Rome, Nicholas Sebastien Adam was admitted in 1735 to the Academia Romile de Penture et de sculpture. , Was appointed by Gillom Costo, the subject’s director, for admission. The pure tradition of dramatic death that was proposed for aspiring sculptors from the beginning of the 18th century. Adam submitted the study a month later. Then, perhaps not too busy with other commissions, he did not present his plaster model until 1738. In 1757, he finally decided to abolish his admission piece, perhaps because of his marriage or his brother’s admission to the academy. The Academy refused to put its plaster in brass. Refused, so he offered marble and was admitted on 26 June 1762.
Trouble and turmoil
Adam’s Tour de Force represents the late peak of Baroque style in its turbulent and forceful expression. The hero’s torture is evident in the sculpture of his fine muscles, bulging veins and exterior limbs. The sculptor is clearly trying to counter the lacunae but does not show the latter moderation. The body is balanced, and the face, raised to the sky, makes a noise. At that time, the Lacquan Group was one of the most classic sculptures. He was regarded as the embodiment of the stages of suffering in the battle with death, and was praised for his dignity. The expression of the promatis is ambiguous. Is it from inconvenience or anger? Adam may have also kept in mind Artesius and Proteus (1723) of Sebastien Sludz in the park of Versailles, where he worked from 1736 to 1740.
A modern aesthetic
The cape cloth and the smoke from the torch swept through the mountain breeze, making it seem to extend the hero’s body further. The outline of this rock increases the impact of its spreading limbs. His arms and chains form a slanted rectangle, the lower corner of which makes his screaming face. Adam plays through the darkness of light and shadow, against the dark shadows of the drapery layered with the shining planes of the rock. When the work was shown at the Salon of 1763, between the sweet salinity of the falconite and the apex of the vase, it seemed like an aesthetic aesthetic product. Proponents of the return to the quiet greatness of Detroit and Antique made it unfounded. However, the public, affected by its implementation, thought otherwise. Significantly, when Frederick II of Prussia offered a staggering amount of 30,000 levers for this statue, and the king of Denmark announced, “Adam, your name will be infinite.”
Detroit at Lort de Boucher – David, cat. Finished Paris, Hٹلtel de la Moni, 1984-1985, Paris, 1984, pp. 434-436.
Pradel Perry, “In Figure de Promit en ter Kite – Essie del Le Morseau de Reception dns Adam LL Academy de Penture”, Le Pére Loren, 39 Eine, Ann 3, Nancy, 1958, pp. 129-130.
Fiche 210D, L’Estampille, janvier 1988, pp. 65-66.