English

Calling for bids on the statue showing above.

It is a bronze statue like the original. It has engraved  a anchor with a P on one side and a B on the other side of the anchor  and  one  inscription  “ Musée de Rome “ It has been with the actual family  during three generations. The second  generation  inherited  it in 1920. The time hold by the first generation ( who bought it in Uruguay) ,the other (s ) family (ies) which hold  it in Uruguay  and the time it was in Europe  is unknown. During the time elapsed  from 1986  and 1991 ( aprox.) T.V. showed an statue just alike. The anchor and the inscription were not shown. They said there were two copies alike this one, one was in a museum in Italy and the other was lost. Due to the time elapsed, and the realism particularly notoriously in the treatment of its ethnics features, it is probably  that this statue belong to one of the copies made during the XVII or XVIII centuries, when the original awake public interest and copies started to be made, Please see history below.

DESCRIPTION AND HISTORY. (Summary) The Dying Gaul is a Roman copy in marble from an original greek in bronze,  This original was part of a group of statues likely executed in bronze commaded by Attolos I of Pergamon during the period 230-220 before J.C. in conmemoration of his victories over the gauls. It is believed that this greek monument was situated on a round basis found among the ruins of the Acropolis at Pergamon. 

The basis was added after its second dicovery.The sculptor identity is unknown but latest researches belive that an Epigono of Pergamon from the Attalide dynasty could has been the author. It is one of the most renowned pieces inherited from the ancient times. It express with an astonishing realism the agony of a wounded celtic worrier who lies upon the hearth awaiting death, it supports himself on one arm as his strengh ebbs away while his blood oozes from his open wound. 

However the author introduces these realistic touches with artistic restraint, such details only make the artist’s intent more clear. It is a concept that goes beyond physical pain to speak of anguish of defeat which destroys the spirit rather than the flesh. Totally naked he has a tressed wire collar around the neck. Julio Cesar narrates in his comments on the gauls that they used to go to the combat entirely naked. 

Very few pieces of the greek  sculture are presented with such a realism the temperance and vigor. Realism particularly notoriously in the treatment of its ethnics features. The matted hair, the moustache, the heavy muscles and the twisted collar identify the worrior as a barbarian. 

Four or five centuries of greek sculpture have never shown an sculpture like this. It is a piece of art to conmemorate the defeat of the celtics honoring the power of the victorious people. At the same time behond that, gives testimony of the adversaries ‘ courage and dignity It also provides the elements that corroborate the methods used by the gauls during their combats.

The Dying Gaul together with the original sculptural group in bronze were transported to Rome. This whole group disappered during the Roman era. Only a few copies in marble remained. Copies that had been commanded by Julio Cesar to ornament his gardens. Some pieces of the original group in bronze appeared later during the earliest XVI CENTURY. The Dying Gaul was not found. It is believed that it was found at the beginning of the XVII century during excavations in Ludovisi Villa  It was accuracy identified for the first time in 1623 among the powerful Ludovisi romance family ‘collection.

  
During the XVII and XVIII centuries the artistic qualities and realistic style awake the interest of an educated group of people. It was copied and engraved by famous artists and sculptors ordered by the royalty a public of intellectuals and wealthy people who wanted to possess reproductios of the Dying Gaul. A public that cannot afford these kind of copies used to buy smallest reproductions as an ornament or as paper weights. 


During his campaigns in Italy Napoleon empowered the statue and took it to Paris were was exposed-. In 1815 carry it to Rome. Copies can be admired in the Classic Archeological Museum at Cambridge University; at the Gallery Courtauld in London, Versalles Palace gardens ( copy in marmol of Michel Mosnier 1684) as well as Berlin, Praga , Historical Society of Tacoma in Washington State . One of the first copies in bronze was made by Lugy Valdier for the Great Hall in the Syon House near London for the Duke of Northunberland. In 1670 the first copy in plaster was made for the King of Spain.

   

Sources Capitoline Museum, Rome, ca. 230 BCE

http://it.wikipedia.org/wiki/Galata_morente
http://www.sculturegallery.com/sculpture/dying.gaul.html

http://www.carthage.edu/outis/Archacology.html 

Leer más »

Calling for bids on the statue showing above.

It is a bronze statue like the original. It has engraved  a anchor with a P on one side and a B on the other side of the anchor  and  one  inscription  “ Musée de Rome “ It has been with the actual family  during three generations. The second  generation  inherited  it in 1920. The time hold by the first generation ( who bought it in Uruguay) ,the other (s ) family (ies) which hold  it in Uruguay  and the time it was in Europe  is unknown. During the time elapsed  from 1986  and 1991 ( aprox.) T.V. showed an statue just alike. The anchor and the inscription were not shown. They said there were two copies alike this one, one was in a museum in Italy and the other was lost. Due to the time elapsed, and the realism particularly notoriously in the treatment of its ethnics features, it is probably  that this statue belong to one of the copies made during the XVII or XVIII centuries, when the original awake public interest and copies started to be made, Please see history below.

DESCRIPTION AND HISTORY. (Summary) The Dying Gaul is a Roman copy in marble from an original greek in bronze,  This original was part of a group of statues likely executed in bronze commaded by Attolos I of Pergamon during the period 230-220 before J.C. in conmemoration of his victories over the gauls. It is believed that this greek monument was situated on a round basis found among the ruins of the Acropolis at Pergamon. 

The basis was added after its second dicovery.The sculptor identity is unknown but latest researches belive that an Epigono of Pergamon from the Attalide dynasty could has been the author. It is one of the most renowned pieces inherited from the ancient times. It express with an astonishing realism the agony of a wounded celtic worrier who lies upon the hearth awaiting death, it supports himself on one arm as his strengh ebbs away while his blood oozes from his open wound. 

However the author introduces these realistic touches with artistic restraint, such details only make the artist’s intent more clear. It is a concept that goes beyond physical pain to speak of anguish of defeat which destroys the spirit rather than the flesh. Totally naked he has a tressed wire collar around the neck. Julio Cesar narrates in his comments on the gauls that they used to go to the combat entirely naked. 

Very few pieces of the greek  sculture are presented with such a realism the temperance and vigor. Realism particularly notoriously in the treatment of its ethnics features. The matted hair, the moustache, the heavy muscles and the twisted collar identify the worrior as a barbarian. 

Four or five centuries of greek sculpture have never shown an sculpture like this. It is a piece of art to conmemorate the defeat of the celtics honoring the power of the victorious people. At the same time behond that, gives testimony of the adversaries ‘ courage and dignity It also provides the elements that corroborate the methods used by the gauls during their combats.

The Dying Gaul together with the original sculptural group in bronze were transported to Rome. This whole group disappered during the Roman era. Only a few copies in marble remained. Copies that had been commanded by Julio Cesar to ornament his gardens. Some pieces of the original group in bronze appeared later during the earliest XVI CENTURY. The Dying Gaul was not found. It is believed that it was found at the beginning of the XVII century during excavations in Ludovisi Villa  It was accuracy identified for the first time in 1623 among the powerful Ludovisi romance family ‘collection.

  
During the XVII and XVIII centuries the artistic qualities and realistic style awake the interest of an educated group of people. It was copied and engraved by famous artists and sculptors ordered by the royalty a public of intellectuals and wealthy people who wanted to possess reproductios of the Dying Gaul. A public that cannot afford these kind of copies used to buy smallest reproductions as an ornament or as paper weights. 


During his campaigns in Italy Napoleon empowered the statue and took it to Paris were was exposed-. In 1815 carry it to Rome. Copies can be admired in the Classic Archeological Museum at Cambridge University; at the Gallery Courtauld in London, Versalles Palace gardens ( copy in marmol of Michel Mosnier 1684) as well as Berlin, Praga , Historical Society of Tacoma in Washington State . One of the first copies in bronze was made by Lugy Valdier for the Great Hall in the Syon House near London for the Duke of Northunberland. In 1670 the first copy in plaster was made for the King of Spain.

   

Sources Capitoline Museum, Rome, ca. 230 BCE

http://it.wikipedia.org/wiki/Galata_morente
http://www.sculturegallery.com/sculpture/dying.gaul.html

http://www.carthage.edu/outis/Archacology.html 

Leer más »