James PRADIER
( 1790 - 1852 )
LES TROIS GRÂCES (1825-1831)
Bronze, richly dark red brown patina.
H : 38,3 cm, L : 25 cm, D : 11,2 cm
Lifetime cast signed in cursive writing on the front of the base "J.Pradier", old edition with the "Cresson Éditeur." mark - only few examples identified.
Before 1856
Bronze à patine brun rouge richement soutenu.
H : 38,3 cm, L : 25 cm, P : 11,2 cm
Épreuve ancienne signée en écriture cursive sur le devant de la terrasse «J.Pradier», édition ancienne avec la marque de «Cresson Editeur.» - quelques épreuves connues.
Avant 1856
H : 38,3 cm, L : 25 cm, D : 11,2 cm
Lifetime cast signed in cursive writing on the front of the base "J.Pradier", old edition with the "Cresson Éditeur." mark - only few examples identified.
Before 1856
Bronze à patine brun rouge richement soutenu.
H : 38,3 cm, L : 25 cm, P : 11,2 cm
Épreuve ancienne signée en écriture cursive sur le devant de la terrasse «J.Pradier», édition ancienne avec la marque de «Cresson Editeur.» - quelques épreuves connues.
Avant 1856
Detailed Description
The Three Graces is an unmissable representation for neoclassical artists, as they represent Art and
Beauty themselves, following the wonderful painting by Rafaello and during a more recent period by
Canova. Pradier executed a large marble of the model in 1831, now at the Louvre Museum (inv.
MV7723). Several drawings at the Musée d’Art et d’Histoire of Geneva (inv. 1852-35) show the
sculptor had hesitations regarding the gesture of the arms and the use of drapery. The sculptor chose
finally to represent the deities with very few symbols, a garland of flowers, a jewel box at their feet
with a necklace and an altar. This last element disappears for the bronze reduction of the subject,
concentrating the attention on the flowers and the pearls of the necklace.
A second version of the model is identified with a different gesture of arms, an altar but no garland of flowers
Our example, with a remarkable patina and chiselling, bears a cursive signature and was cast by Cresson.
Beauty themselves, following the wonderful painting by Rafaello and during a more recent period by
Canova. Pradier executed a large marble of the model in 1831, now at the Louvre Museum (inv.
MV7723). Several drawings at the Musée d’Art et d’Histoire of Geneva (inv. 1852-35) show the
sculptor had hesitations regarding the gesture of the arms and the use of drapery. The sculptor chose
finally to represent the deities with very few symbols, a garland of flowers, a jewel box at their feet
with a necklace and an altar. This last element disappears for the bronze reduction of the subject,
concentrating the attention on the flowers and the pearls of the necklace.
A second version of the model is identified with a different gesture of arms, an altar but no garland of flowers
Our example, with a remarkable patina and chiselling, bears a cursive signature and was cast by Cresson.
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