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Un archer tendant son arc, bronze à patine brune vers 1900

Le bras gauche tendu, la main droite revenue près de la tempe, un jeune archer nu semble avoir lâché sa flèche à l'instant. La corde, réduite à un fil ténu, traverse l'air entre les deux extrémités de l'arc, et un carquois garni pend à son flanc. Il se tient sur un socle en forme de coffre orné de coquilles et de feuillages, cerné d'enfants qui chevauchent des monstres marins aux gueules ouvertes, entre des mascarons grimaçants. La patine brune s'éclaircit sur les reliefs et fait courir la lumière le long des muscles.

Aucun sculpteur, aucune fonderie ni signature ne sont mentionnés ; aux pieds de l'archer, une petite tablette porte des chiffres romains, lus MCCCCC XXXII sous réserve du nombre exact de lettres, dont le sens n'est pas établi. L'Archer se lit d'abord par son modelé et par la fantaisie de sa base. Son époque hérite des pratiques que le siècle précédent a fixées pour le bronze. La fonte au sable, moins coûteuse, l'emporte alors largement sur la cire perdue. Dans les années 1830, Achille Collas met au point une machine capable de réduire une sculpture à plusieurs échelles, puis s'associe en 1845 à Ferdinand Barbedienne. Sorti du moule d'un jaune doré, le métal ne prend sa teinte qu'au terme d'une oxydation chimique : la patine est un geste d'atelier.

Époque
Vers 1900
Matière
Bronze à patine brune
Sujet
Archer
Dimensions
Largeur 35, diamètre 63, hauteur 35 cm ; cotes incohérentes, à remesurer
État
En l'état
Read in English

Left arm outstretched, right hand drawn back near the temple, a young nude archer seems to have just loosed his arrow. The string, no more than a fine thread, crosses the air between the two tips of the bow, and a full quiver hangs at his side. He stands on a chest-shaped base worked with shells and foliage, ringed by children riding open-jawed sea monsters, between grimacing masks. The brown patina lightens on the reliefs and draws the light along the muscles.

No sculptor, foundry or signature is mentioned; at the archer's feet, a small tablet bears Roman numerals, read as MCCCCC XXXII subject to the exact number of letters, whose meaning is not established. The Archer is read first through its modelling and the fancy of its base. Its period inherits the bronze practices settled in the century before. Sand casting, being cheaper, then prevailed widely over lost wax. In the 1830s Achille Collas perfected a machine able to reduce a sculpture to several scales, and in 1845 he joined forces with Ferdinand Barbedienne. Bronze leaves the mould a golden yellow and only takes its colour through chemical oxidation: patina is a workshop gesture.

Sources
  • Au XIXe siècle, la fonte au sable est utilisée beaucoup plus fréquemment que la cire perdue, en raison de son moindre coût. https://legide.be/fr/sculpture-in-the-19th-century-the-art-of-the-bronze-casting/
  • Achille Collas met au point une machine à réduire les sculptures à plusieurs échelles (années 1830 selon la notice Wikipédia, qui donne 1837) et s'associe à Ferdinand Barbedienne en 1845. https://fr.wikipedia.org/wiki/Achille_Collas
  • Le bronze est généralement jaune doré après fonte ; la patine s'obtient en oxydant le métal avec des produits chimiques. https://fr.wikipedia.org/wiki/Sculpture_en_bronze

Condition & restoration

Stated condition
As is
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