Bust "Worpswede Child", reduction in bronze
Bust "Worpswede Child", reduction in bronze
Quick info
ars mundi Exclusive Edition | limited, 490 copies | numbered | foundry hallmark | certificate | bronze | patinated | reduction | size 20.5 x 20 x 11.5 cm (h/w/d) | weight approx. 2.1 kg
Detailed description
Bust "Worpswede Child", reduction in bronze
For Hans am Ende, his academic studies in Munich proved to be unsuccessful, even paralysing. Instead of the classroom, he found more inspiration in the Schackgalerie and the Pinakothek. He was fascinated by the study of anatomy. And that is how he repeatedly concentrated on (head) portraits by drawing, etching and modelling. His "Worpswede Child" is a precise portrait as well as the hint of a mysterious beginning.
Sculpture in fine bronze, patinated. Cast by hand using the Lost-Wax-Process. The mould was taken directly from the original in plaster and reduced in size (reduction). In collaboration with the Kunsthalle Bremen. Limited edition of 490 copies, individually numbered and hallmarked with the foundry stamp. With numbered certificate of authenticity and limitation. Size 20,5 x 20 x 11,5 cm (h/w/d). Weight approx. 2,1 kg. ars mundi Exclusive Edition.
"As a co-founder of the Worpswede artists' colony, Hans am Ende has a special significance for the collection of the Kunsthalle Bremen, as works by him were exhibited here as early as 1895. Today he is represented in our collection by important landscape paintings, numerous works on paper as well as the sculpture of the "Worpswede Child". The extremely fine and detailed portrait of the girl radiates an enchanting tranquillity and at the same time, conveys the great artistry of Hans am Ende. I am delighted that this wonderful portrait is now available to a wider circle of collectors through this high-quality reproduction." (Prof. Dr Christoph Grunenberg, Director of the Kunsthalle Bremen)
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany, [email protected]
About Hans am Ende
In 1889 Hans am Ende co-founded the artists’ colony in Worpswede together with Fritz Mackensen, Otto Modersohn, Fritz Overbeck, Heinrich Vogeler and Carl Vinnen. Their participation in the Munich Artists' Cooperative Exhibition of 1895 resulted in honours and purchases for the small group and thus their artistic breakthrough.
Hans am Ende, born in Trier on 31 December 1864, became a student at the Munich Academy from 1884-89, with an interruption of two years. His personal acquaintance with Fritz Mackensen, who had discovered the unknown farming village in the Teufelsmoor north of Bremen by chance, prompted Ende to settle in Worpswede for good in 1889.
Hans am Ende's strongly coloured paintings mainly focus on the moorland. Here he was far away from the academic art establishment and found an immediately captivating experience of nature. He captured the rugged landscape in atmospheric, delicate nature paintings.
In his later work, the Swiss high mountains became the focus of his motifs. He spent the last years of his life there and died in 1918.
An alloy of copper with other metals (especially with tin) used since ancient times. It is an ideal metal for high-quality artistic castings, capable of enduring for millennia.
When casting bronze, the artist usually applies the lost-wax technique which is dating back more than 5000 years. This is the best, but also the most complex method of producing sculptures.
First, the artist forms a model of their work. This model is embedded in a liquid silicone rubber mass. Once the material has solidified, the model is cut out, leaving a negative mould. Liquid wax is then poured into the negative mould. After cooling down, the wax cast is removed from the mould, provided with sprues and dipped into ceramic mass. The ceramic mass is hardened in a kiln, where the wax melts away (lost mould).
Finally, the negative mould is ready, into which the 1400° C hot molten bronze is poured. After the bronze had cooled down, the ceramic shell is broken apart, reavoling the sculpture.
Next, the sprues are removed, the surfaces are polished, patinated and numbered by the artist or by a specialist, following their instructions. Thus, each casting is an original work.
For lower-quality bronze castings, the sand casting method is often used, which, however, does not achieve the results of a more elaborate lost-wax technique in terms of surface characteristics and quality.
Graphic or sculpture edition that was initiated by ars mundi and is available only at ars mundi or at distribution partners licensed by ars mundi.
> All ars mundi Exclusive Editions
The style of Impressionism, which emerged in French painting around 1870, owes its name to Claude Monet's landscape 'Impression, Soleil Levant'. After initial rejection, it began a veritable triumphal procession.
Painters such as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in bright, natural light.
Impressionism can be seen as a reaction to academic painting. Rather than emphasizing content with a structured composition, it focused on the subject as it appears in the moment, often in a seemingly random snapshot. The reality was seen in all its variety of colours in natural lighting. Outdoor painting replaced studio painting.
Through the brightening of the palette and the dissolution of firm contours, a new approach to colour emerged. In many cases, the colours were no longer mixed on the palette but placed side by side on the canvas, so that the final impression emerged in the eye of the viewer with a certain distance. In "Pointillism", (with painters such as Georges Seurat or Paul Signac), this principle was taken to the extreme.
Outside France, Impressionism was taken up by painters such as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.
However, Impressionism was only expressed to a limited extent in the art of sculpture. In the works of Auguste Rodin, who is considered one of the main representatives, a dissolution of surfaces is evident, in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.
Term for an art object (sculpture, installation) that, according to the artist’s intention, is produced in multiple copies within a limited and numbered edition.
Multiples enable the "democratization" of art by making the work accessible and affordable for a wider audience.
A plastic work of sculptural art made of wood, stone, ivory, bronze or other metals.
While sculptures made of wood, ivory, or stone are carved directly from the material block, in bronze casting, a working model is prepared at first. Usually, it is made of clay or other easily mouldable materials.
The prime time of sculpture after the Greek and Roman antiquity was the Renaissance. Impressionism gave a new impulse to the sculptural arts. Contemporary artists such as Jorg Immendorf, Andora, and Markus Lupertz also enriched sculptures with outstanding works.