... reprodüksiyonunu satın alın Circe - sir edgar bertram mackennal kcvo ra

The sorceress Circe is a central figure in Homer’s ancient epic, the Odyssey. When the Greek hero Odysseus, on his return from the destruction of Troy, arrived on the enchanted island of Aeaea, Circe beguiled his unsuspecting crew and transformed them into swine. Bertram Mackennal’s slender and eroticised Circe holds her arms outstretched, as if casting a hypnotic spell and playing with her hapless victims like puppets. This incident in Greek mythology provided the sculptor with a pretext by which to indulge in a symbolist preoccupation with the femme fatale as well as to affront conservative values.This is a statuette, or small-scale version, of Mackennal’s most renowned sculpture. He first exhibited a life-size, plaster statue of Circe in Paris in 1893. The following year, the same work was shown at the Royal Academy in London. Around the base of Circe, there is a relief of writhing figures showing Odysseus’s companions succumbing morally to temptation and physically to sexual desire. These ‘scandalous’ images were covered by the Royal Academy’s prudish selection committee in order to uphold standards of public decency. This act of concealment fostered intrigue among visitors, only adding to the notoriety of the work. The controversy surrounding Circe launched Mackennal’s career in London, where he became Australia’s most successful expatriate sculptor.The New Sculpture movement in Britain at the turn of the century elevated the sculptor from artisan to artist, and revitalised almost all aspects of sculptural activity. The statuette was a phenomenon of the New Sculpture Movement, whereby small-scale sculptures or ‘art bronzes’, often of mythological or allegorical subjects, were promoted as collectable domestic ornaments to the Victorian middle class. Several editions of the statuette version of Circe were cast.Steven TonkinText © National Gallery of Australia, Canberra 2010From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002

Sanatçı Özgeçmişi

Early Life and Training

Sir Edgar Bertram Mackennal (1863-1931) was born in Melbourne, Australia, the second son of John Simpson Mackennal (1832-1901), a Scottish immigrant and architectural sculptor, and Annabella Hyde. His father instilled in him an early passion for sculpture, recognizing his innate talent and providing him with invaluable training from a young age. Bertram’s formative years were spent studying under his father's guidance, absorbing the principles of craftsmanship and artistic vision that would define his future career. He continued his education at Melbourne School of Art, honing his skills in modeling and design before embarking on a transformative journey to London in 1882. There, he enrolled at the National Gallery Schools, immersing himself in the burgeoning British sculptural tradition and encountering influential mentors who shaped his artistic sensibilities.

London Years and Artistic Development

Upon arriving in London, Mackennal joined forces with fellow students Charles Douglas Richardson and Tom Roberts, establishing a studio that fostered intellectual exchange and collaborative experimentation. This formative period exposed him to the avant-garde currents of Impressionism and Symbolism, profoundly impacting his artistic style. He actively participated in exhibitions at the Royal Academy, showcasing his evolving repertoire of works—from monumental sculptures like St George’s Chapel, Windsor – a joint commission with Sir Edwin Lutyens – to smaller, more intimate pieces exploring themes of mythology and human emotion. His dedication to mastering technique and capturing nuanced expressions solidified his reputation as one of Britain's leading sculptors.

Notable Sculptures and Commissions

Mackennal’s prolific output spanned a remarkable range of projects—memorial tombs, monumental sculptures celebrating royal figures (including George V), decorative reliefs for public buildings, and numerous portraits capturing the likenesses of prominent individuals. His most celebrated achievements include the design of the coinage featuring George V – a testament to his meticulous craftsmanship and artistic vision – and the creation of ‘Circe,’ a striking depiction of mythological figure inspired by Gustave Moreau’s paintings, which garnered honorable mention at the Paris Salon. These commissions underscored Mackennal's ability to translate conceptual ideas into tangible forms, leaving an indelible mark on the landscape of British sculpture.

Recognition and Legacy

Mackennal was awarded an Associate Membership of the Royal Academy in 1909 and a Knight Commander Order of the Victorian Crown (KCVO) in 1921, recognizing his distinguished contributions to art and scholarship. He remained active until his death in London in 1931, continuing to pursue artistic endeavors and mentor younger sculptors. His influence extended beyond his own lifetime, shaping the aesthetic sensibilities of subsequent generations and establishing him as a pivotal figure in the British Sculpture Movement—a movement characterized by its embrace of expressive realism and exploration of psychological depth.

sir edgar bertram mackennal kcvo ra

1863 - 1931 , Australia

Kısa Bilgiler

Artistic Movement Or Style: Early Sculpture Movement
Artists Or Movements Influenced By This Artist: ['Rodin']
Artists Who Influenced This Artist:
- Charles Douglas Richardson
- Tom Roberts
Date Of Birth: June 12, 1863
Date Of Death: October 10, 1931
Full Name: Sir Edgar Bertram Mackennal KCVO RA
Nationality: Australian
Notable Artworks:
- The Dancer
- Daphne
- Circe
Place Of Birth: Melbourne, Australia

Circe

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Sanatçı Özgeçmişi

Early Life and Training

London Years and Artistic Development

Notable Sculptures and Commissions