George Minne, Moeder Met Kind (Mother and Child), 1902
|Artist:||George Minne (1866 - 1941)|
|Title:||Moeder Met Kind (Mother and Child), 1902|
|Medium:||Plaster Cast Sculpture|
|Image Size:||DIMENSIONS: 21 1/2 in x 7 1/4 in (54.5 cm x 18.5 cm)|
|Signature:||This work is etched “G. Minne” by George Minne (Ghent, 1866- Ghent, 1941) along the back left-hand corner of the base.|
|Condition:||This work is in excellent condition.|
Item # 791
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Historical Description of this artwork
A mother and child are tenderly portrayed in this intimate work by George Minne (Ghent, 1866- Ghent, 1941). The mother stares directly at the viewer, and with no clear expression it is difficult to know what she is thinking. Affectionately clutching her child in a gentle embrace, the mother seems to mold the child to her. In representing the child as part of the mother, Minne depicts the tenderness of maternity and the dependent relationship between mother and child.The infant appears to emerge from the mother’s being, with the child’s head, body and feet melting into the sculpture. Adding delicate details such as the child’s plump hand pressed against the mother’s back and the child’s feet that wrap around the mother’s side, Minne draws the observer into an intimate moment.
Entitled Moeder Met Kind (Mother and Child) this work is dated circa 1902. This work is an original plaster sculpture that is etched “G. Minne” by George Minne (Ghent, 1866- Ghent, 1941) along the back left-hand corner of the base.
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Part of the Viennese Secessionist movement that inspired Art Nouveau, Minne, alongside Klimt and Schiele, declared: "to every age its art and to art its freedom". An original signed Minne sculpture is a striking part of any art collection.
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George Minne Biography
In his work of the late 1800s, George Minne was a Sculptor Belgian that captured a sense of spiritual unease strikingly contemporary in its outlook. The attenuated proportions, softly modeled flesh, and unstable posture of his simple, mystical figures express anxiety and resignation. At the Ghent Academy, Minne studied architecture before taking courses in sculpture and painting. Around 1887, when Minne began exhibiting, Symbolist writers like Maurice Maeterlinck recognized the power of his grieving, injured figures and invited him to illustrate their literary works, which also de-emphasized naturalism in favoring of exploring human spiritual life and inner conflict.
Auguste Rodin’s work was a point of departure for Minne. But about 1891, after Rodin had patronizingly dismissed him with words of encouragement, Minne returned to Belgium. He worked for his architect father, married, and soon went bankrupt. Then, in 1896, having spent a year at the academy in Brussels, his most productive time began.
Mostly small in scale, Minne’s work contains only a few motifs that he explored repeatedly. Best known is Kneeling Youth, which displays influence from Gothic sculpture and the Pre-Raphaelites. His major success throughout Europe began around 1900 but, ironically, by that time he had already created his most important sculptures. Minne deeply influenced artists in Belgium, France, and Germany.