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拍品专文
Cette grande terre cuite illustre un sujet peu représenté en sculpture issu de La malédiction du barde (Des Sängers Fluch), ballade dramatique écrite par Ludwig Uhland (1787-1862). Le vieux barde et un jeune chanteur se rendent devant le roi et son épouse entourés de courtisans. Là « le vieillard fit vibrer sa harpe (…) alors raisonna la voix pure du jeune homme » envoûtant l’assemblée jusqu’à ce que le roi pense que les paroles du plus jeune séduisent la reine et « irrité (…) il tire son épée et la plonge dans le cœur du jeune homme ». La base de la terre cuite reprend les mots utilisés par le poète : « La mort de l’élève dans les bras de son maître ». Rare sont les sculptures s’étant emparées de ce sujet. On trouve cependant quelques tableaux dont celui de Philipp von Foltz (1837, musée Thorvaldsen, Copenhague).
Uhland écrivit cette nouvelle en 1814 et beaucoup virent dans les traits du roi tyrannique la figure de Napoléon. Certains imaginèrent également dans le vieux barde et le jeune homme des personnifications de la presse ou du Corps législatif opprimés. Grand poète romantique, Uhland fit partie du Cercle Souabe de Stuttgart et s’investit en politique pour la cause de l’unité allemande.
This large terracotta illustrates a subject rarely represented in sculpture which is drawn from The Ministrel’s Curse (Des Sängers Fluch) a dramatic ballad written by Ludwig Uhland (1787-1862). The old minstrel, or bard, and a young singer go before the king and his wife surrounded by courtiers. There 'the old man struck his harp (...) then the pure voice of the young man' enchanted the assembly until the king thought that the words of the younger man were seducing the queen. 'Irritated (...) he drew his sword and plunged it into the heart of the young man'. The base of the terracotta repeats the poet’s words: ‘La mort de l’élève dans les bras de son maître’ (The death of the student in his master's arms). Whilst in sculpture, the subject is rare, there are a few paintings which pick up the theme, including one by Philipp von Foltz (1837, Thorvaldsen Museum, Copenhagen).
Uhland wrote this short story in 1814 and many people saw in the features of the tyrannical king the figure of Napoleon. Some also saw the old bard and the young man as personifications of the oppressed press or the legislature. Uhland, a great Romantic poet, was a member of the Swabian Circle in Stuttgart and was politically engaged in Germany’s unification.
Uhland écrivit cette nouvelle en 1814 et beaucoup virent dans les traits du roi tyrannique la figure de Napoléon. Certains imaginèrent également dans le vieux barde et le jeune homme des personnifications de la presse ou du Corps législatif opprimés. Grand poète romantique, Uhland fit partie du Cercle Souabe de Stuttgart et s’investit en politique pour la cause de l’unité allemande.
This large terracotta illustrates a subject rarely represented in sculpture which is drawn from The Ministrel’s Curse (Des Sängers Fluch) a dramatic ballad written by Ludwig Uhland (1787-1862). The old minstrel, or bard, and a young singer go before the king and his wife surrounded by courtiers. There 'the old man struck his harp (...) then the pure voice of the young man' enchanted the assembly until the king thought that the words of the younger man were seducing the queen. 'Irritated (...) he drew his sword and plunged it into the heart of the young man'. The base of the terracotta repeats the poet’s words: ‘La mort de l’élève dans les bras de son maître’ (The death of the student in his master's arms). Whilst in sculpture, the subject is rare, there are a few paintings which pick up the theme, including one by Philipp von Foltz (1837, Thorvaldsen Museum, Copenhagen).
Uhland wrote this short story in 1814 and many people saw in the features of the tyrannical king the figure of Napoleon. Some also saw the old bard and the young man as personifications of the oppressed press or the legislature. Uhland, a great Romantic poet, was a member of the Swabian Circle in Stuttgart and was politically engaged in Germany’s unification.