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- Author Teodor Rygier (1841–1913)
- Date of production 1887
- Dimensions height: 200 cm, length: 80 cm, width: 90 cm
- Author's designation signature and date on the base: prof. Rygier 1887 / In Firenze
- ID no. MNK-II-rz-276
- Branch The Sukiennice
- Availability The Chełmoński Room
- Object copyright The National Museum in Kraków
- Digital images copyright public domain
- Digitalisation RDW MIC, Małopolska's Virtual Museums project
A young woman, clearly amused, seems to be walking towards the viewer with a dance-like step. Her shapely figure has been captured in a lively pose, and the body is covered only with a fabric carelessly wrapped around the hips. The girl is raising a goblet with a vigorous gesture of her right hand. The Dionysian character of sculpture, marked in the title, is emphasized by a vine twig gripped in the left hand.more
A young woman, clearly amused, seems to be walking towards the viewer with a dance-like step. Her shapely figure has been captured in a lively pose, and the body is covered only with a fabric carelessly wrapped around the hips. The girl is raising a goblet with a vigorous gesture of her right hand. The Dionysian character of sculpture, marked in the title, is emphasized by a vine twig gripped in the left hand.
The popularity of this type of representation among 19th-century sculptors undoubtedly relates to the rehabilitation of rococo art, to which the brothers Edmond and Jules de Goncourt significantly contributed, by publishing the collection of essays, L'Art du XVIIIe siècle (1859-1875). The generic approach to the ancient theme derives from Rococo sculpture. The form of Rygier's work, however, is far from neo-rococo boudoir conventions, and, at the same time, goes beyond the framework of the classical tradition, which strongly influenced Polish sculpture. The artist has abandoned cold restraint in favour of realistic observation. The unconstrained attitude and natural expression of the model's face are a reference to the “picturesque” trend of romantic sculpture, that paved the way for realism.
Rygier — a recognized portraitist — gave the girl's face individual features. Her open, smiling lips, and slightly narrowed eyes intensify the frivolous character of the work. A precise elaboration of the detail — especially visible in the parts related to the sandals — does not diminish the free expression of the figure. Stanisław Bełza — who visited Rygier's Florentine workshop in 1886 — noted: “This charm and this grace will enchant you in every statue, whether you look at Poppaea, on whose shoulder the casually-thrown butterfly is already about to rise into the air, or the Bacchae, who moves eagerly in front of you, gracefully draping her clothes around her legs”.
Elaborated by Agata Małodobry (The National Museum in Kraków), © all rights reserved