Female mannequin by the mid -1800s painter made in beech essence with traces of lacquer preparation. with a natural dimension, this ancient artist mannequin presents female attributes as indicate adolescent breasts and holes on the ears lobes. Designed to an atelier, to serve as a model for anatomical studies, this ancient mannequin of Italian origin is carved in a realistic, completely articulated and articulated way, the hands are made in a particularly accurate way, the fingers are all articulated and finished even in detail of the nails. It presents itself in good conservative state with slight additions of the fingers of the left foot and the little finger of the left hand, it turns out to be a little rigid only in correspondence with the pelvis.
The verb mannequiner (from which the Italian term mannequin derives) appears for the first time in France of the eighteenth century and is used to describe the act of cleverly drapping the fabric on a mannequin with a natural effect (J. Munro, silent partners: Artist and Mannequin from Function to Fetish, Fitzwilliam Museum, Cambridge, 14 October 2014 - 25 January 2015, exhibition catalog, p. 28).
“The articulated human figure made of wax or wood has been a common tool of European artistic practice since the 16th century. His tireless limbs and his silence have allowed the artist to study anatomical proportions, fix a pose according to his own taste and perfect the representation of drapes and clothes. During the nineteenth century, however, the mannequin (or lay figures in English) gradually emerged from the atelier to become a subject in its own right, first with humor, then in more disturbing ways, playing on the unnerving psychological presence of a realistic figure but unreal, truthful but lifeless.
Despite the plethora of human effigies and avatar, both virtual, and real, which inhabit our existence of the 21st century, the mannequin continues to fascinate and disturb, an empty ship for our fears and fantasies ... "(J. Munro, op. cit., Introduction).
"... as an instrument in the artist's arsenal, however, mannequins were hidden from sight and rarely, if never, included in the representations of the artist's study - their presence mentioned the tiring act of painting and decreased the perception of the Artist as inspired genius ... "(J. Munro, op. Cit., P. 2).
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