NEW WORLDS – Le petit blessé
- Monuments are reminders of glorious persons, of victorious or lost battles. But even in smaller formats, sculptural works of art often move us with their gestures. From ancient Egypt to the Middle Ages and right up to the present century, the subject of human vulnerability has preoccupied sculptors since time immemorial. In the case of devotional objects, the thought of a life after death is the driving force behind the aesthetic examination. However, as in Käthe Kollwitz’s ›Tower of Mothers‹ or Emile-Antoine Bourdelle’s ›Study of a Wounded Soldier Standing‹, it can also reflect upon what has happened and create a sense of sympathy. In his work, George Minne illustrates a sensibility that is experienced both physically and emotionally by his figures. After all, it is the pieces themselves that speak as fragments of grievance and injury, thus narrating a part of their story.
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- Exh_Title_S: NEW WORLDS – Le petit blessé
- Exh_Id: 2,562
- Exh_Comment_S (Verantw): Sammlung Online
- Exh_SpareNField01_N (Verantw ID): 241
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Africa / Anonym
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Fragment einer Helmmaske der Suku, Zaire, undatiert
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Asien / Anonym
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Fragment einer Hand, undatiert
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Bourdelle, Emile-Antoine
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Etude de guerrier blessé debout, 1899
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Egypt / Anonym
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Mumienmaske einer Frau, römische Zeit, 150–175 n. Chr.
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Kingdom of Benin / Igun Eronmwon (Königliche Gilde der Bronzegießer) / Anonym
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Uhunmwu-elao, 17./18. Jahrhundert
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Kollwitz, Käthe
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Der Turm der Mütter, 1937 - 1938
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Marini, Marino
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Ritratto d'etrusco, 1929
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Minne, George
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Le petit blessé I, 1889
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Minne, George
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Le grand blessé, 1894
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Minne, George
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L’homme pleurant sa biche blessée, 1896
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Rodin, Auguste
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Petite tête de damnée, 1885
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Schütte, Thomas
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Mann im Matsch, 2009
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