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316:, both of these paintings depict a female artist who is painting copies of Gérôme's Hoop Dancer figurine (a modern anachronism retrojected back in time). These Hoop Dancers are offered for sale, along with other figurines, to browsing art-lovers (all female) who themselves resemble Tanagra figurines. In one of these paintings a smaller version of Gérôme's
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of 1890." A contemporary critic suggested that if the sculpture had been "secretly buried for a time, and then publicly excavated as an antique, perhaps with a broken arm, it would have turned the heads of the whole art world, and been declared in its vital characteristics and subtle anatomy a rival
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is a painting of a statue holding a statue. Also in this painting, the young artisan is busy "colouring an edition of 12 Hoop
Dancers in various brilliant hues—a tongue-in-cheek advertisement, perhaps, made to promote the figurines that he was offering for sale in two different sizes and a variety
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from a live model, Emma Dupont, who holds the seated, stiffly upright pose, though her upturned palm is empty. Behind the model on its own stand is a large polychrome Hoop Dancer statuette of the sort Gérôme made for sale to the public. Various props litter the studio. In each painting, hanging on
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This complex self-portrait is "a summation of Gérôme’s remarkable career as both painter and sculptor." As in all his works connected to
Tanagra, we see Gérôme "powerfully evoking the continuous interplay between painting and sculpture, reality and artifice, as well as highlighting the inherently
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in Greece, archaeologists unearthed a group of
Hellenistic terra cotta figurines bearing traces of original polychrome. The discovery caused a sensation, because it provided firm evidence supporting the theory that ancient sculpture was painted. The Tanagra figurines, which depicted not gods or
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As a painter and sculptor, Gérôme had long drawn inspiration from the
Classical world. His famous images of gladiator combats, chariot races, slave markets, the assassination of Julius Caesar, and other subjects from ancient Greece and Rome were widely influential.
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depicts a statue holding a statue. The larger statue sits rigidly posed while the smaller is a "twirling figure, who gracefully dips her head into a golden ring clutched in her right hand and cups a golden ball in the other, as her drapery swirls around her."
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sits stiffly upright "atop an excavation mound. Numerous figurines have surfaced in the soil. At her feet lie the tools that allude to both the archaeological dig as well as Gérôme's role as sculptor." On the upraised palm of
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from a living model in his Paris atelier. These sculptures and paintings comprise a complex, self-referential artistic program in which one of the most celebrated artists of his generation explored reception of
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in Paris, where they charmed and fascinated the public. In subsequent decades, countless forgeries flooded the art market. Tanagra figurines infiltrated popular literature and theater, as seen by references in
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Like most 19th-century sculptors, Gérôme did not carve the marble himself but furnished professional marble cutters with a full-size plaster to use as a guide. It is this intermediate step that is depicted in
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and visual puns are complex, because the
Pygmalion paintings in the two backgrounds are similar but not identical. Just as Gérôme painted two self-portraits, he also painted more than one version of
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is depicted as a painting of a mythical sculptor and living statue within a painting of a real sculptor, a living model, and (despite appearances) a plaster (not marble) statue.
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In his mid-sixties, Gérôme expressed his fascination with the
Tanagra figurines, and the ancients who made and owned them, with his 5-foot-high, tinted-marble
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570:, a title that refers to the overall creative process. Gérôme portrays himself on a turn stand putting the finishing touches on the plaster version of
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In 1893, Gérôme created two paintings of imaginary
Tanagra workshops. Although Gérôme opposed the admission of female art students to the
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692:"Jean-Léon Gérôme, internationally famous in his time, was one of the most decorated and wealthy of artists." Sanders, Patricia B.
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In 1894 and 1890, Gérôme painted two versions of a self-portrait depicting the artist at work in his atelier:
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Gerome would subsequently create and sell numerous copies of the Hoop Dancer figurine held by his
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94:(1824–1904) as a personification of the "spirit of Tanagra," his own mythic invention tied to the
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from the village of that name in ancient Greece. The sculpture was first shown at the
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329:. The Hoop Dancer would be Gérôme’s most popular and widely reproduced sculpture."
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Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E,
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presides over the sales counter, holding a Hoop Dancer in her hand. This
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of 1890. Gérôme subsequently created smaller, gilded bronze versions of
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Polychromic marble sculpture created by French artist Jean-Léon Gérôme
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by Fanny Field Hering, New York: Cassell
Publishing Company, 1892,
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620:(fiche oeuvre 15298). A 29.5-inch-high, gilded bronze version of
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The
Antique Pottery Painter: Sculpturæ vitam insufflat pictura
296:(Tanagra workshop), 1893, private collection; auctioned by
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is a polychromic marble sculpture created by French artist
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also has a bronze Hoop Dancer by Gérôme, displayed beside
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are seen kissing from the front. This version appears in
106:; several versions of the "Hoop Dancer" figurine held by
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Close-up of the damaged, polychrome hoop dancer held by
747:"The diminutive dancing girl who made a big impression"
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the wall in the background, is a painting by Gérôme of
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640:for 150,000 GBP, another in 2017 by for $ 50,000.
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834:Dictionnaire des orientalistes de langue française
158:heroes but ordinary people, were exhibited at the
632:(object 2000.12). More gilded bronze versions of
628:(object 1986.54), which also has a gilded bronze
461:In these self-portraits Gérôme is seen sculpting
277:(painting breathes life into sculpture), 1893,
816:Gérôme: The Life and Works of Jean Léon Gérôme
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325:of media through his dealer and father-in-law
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837:(in French). Karthala Editions. p. 466.
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227:, or presiding spirit, of the ancient city.
598:theatrical nature of the artist’s studio."
1116:Reception of the Grand Condé at Versailles
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696:, Stockton: The Haggin Museum, 1991, p 82.
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779:"Jean-Léon Gérôme (French, 1824–1904)
555:In both self-portraits, a variant of
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636:exist; one was auctioned in 2011 by
498:. Right: detail showing a different
261:Hoop Dancers and imaginary workshops
384:; Gérôme depicts himself sculpting
361:; Gérôme depicts himself sculpting
153:In December 1870, at a site called
1148:The Christian Martyrs' Last Prayer
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207:, c. 1893, by Jean-Léon Gérôme,
67:154.7 cm (60.9 in)
1279:Sculptures by Jean-Léon Gérôme
521:. The most famous, now in the
160:Exposition Universelle of 1878
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991:The Duel After the Masquerade
248:, causing a sensation at the
137:The ancient Tanagra figurines
1204:Truth Coming Out of Her Well
1156:Slave Market in Ancient Rome
1069:The Execution of Marshal Ney
814:, 6 July 1890, as quoted in
785:The Artist Sculpting Tanagra
409:, seen in the background of
1164:Bonaparte Before the Sphinx
1029:Phryne Before the Areopagus
831:Pouillon, François (2012).
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876:Metropolitan Museum of Art
583:Léopold Bernhard Bernstamm
523:Metropolitan Museum of Art
407:Metropolitan Museum of Art
351:The Artist and His Model (
170:The Picture of Dorian Gray
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810:M. Parry Kennard, Boston
624:by Gérôme is held by the
441:The Artist and His Model-
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607:The Artist and His Model
527:The Artist and His Model
496:The Artist and His Model
411:The Artist and His Model
119:, creative inspiration,
872:"Pygmalion and Galatea"
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1132:A Chat by the Fireside
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300:in 2013 for $ 125,000.
279:Art Gallery of Ontario
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1188:Pygmalion and Galatea
859:The Haggin Collection
857:Sanders, Patricia B.
694:The Haggin Collection
667:Pygmalion and Galatea
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558:Pygmalion and Galatea
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518:Pygmalion and Galatea
502:in the background of
500:Pygmalion and Galatea
494:in the background of
492:Pygmalion and Galatea
490:Left: Detail showing
427:Pygmalion and Galatea
402:Pygmalion and Galatea
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1085:Prayer in the Mosque
1037:Cleopatra and Caesar
587:Musée Georges-Garret
456:Dahesh Museum of Art
382:Dahesh Museum of Art
314:École des Beaux-Arts
129:is displayed at the
1172:The Carpet Merchant
1053:The Death of Caesar
976:The Age of Augustus
897:"Jean-Léon Gérôme,
751:apollo-magazine.com
712:"Jean-Léon Gérôme,
117:Classical antiquity
1196:The Birth of Venus
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626:Phoenix Art Museum
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294:Atelier de Tanagra
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59:polychromic marble
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1124:The Snake Charmer
781:Working in Marble
674:Tanagra figurines
669:(Gérôme painting)
568:Working in Marble
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452:Working in Marble
432:Working in Marble
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630:Hoop Dancer
444:Emma Dupont
205:Hoop Dancer
186:Swann's Way
173:(1891) and
165:Oscar Wilde
100:Paris Salon
1273:Categories
1224:Sculptures
812:Transcript
680:References
64:Dimensions
1180:Bathsheba
1061:Jerusalem
960:Paintings
638:Sotheby's
468:Pygmalion
298:Sotheby's
193:Gérôme's
999:Diogenes
660:See also
405:, 1890,
380:, 1890,
357:, 1894,
189:(1913).
72:Location
1251:Related
1240:Tanagra
1232:Omphale
899:Tanagra
820:p. 282.
787:, 1890"
714:Tanagra
649:Tanagra
634:Tanagra
622:Tanagra
614:Tanagra
572:Tanagra
547:at the
545:Tanagra
531:Galatea
476:Tanagra
472:Galatea
463:Tanagra
386:Tanagra
363:Tanagra
337:, twice
335:Tanagra
322:Tanagra
318:Tanagra
307:Tanagra
246:Tanagra
238:Tanagra
234:Tanagra
229:Tanagra
221:Tanagra
195:Tanagra
155:Tanagra
127:Tanagra
112:Tanagra
108:Tanagra
104:Tanagra
88:Tanagra
24:Tanagra
1243:(1890)
1235:(1887)
1207:(1896)
1199:(1890)
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1127:(1879)
1119:(1878)
1111:(1876)
1096:(1872)
1088:(1871)
1080:(1869)
1072:(1868)
1064:(1867)
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