LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 1
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LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 3
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LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 6
LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 7
LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 8
LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 9
LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 10
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LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 13
LUIGI BIENAIMÉ (1795-1878), ROME, 1846 - photo 14
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LUIGI BIENAIMÉ (1795-1878), ROME, 1846

Lot 40
21.11.2024 00:00UTC +00:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Event locationUnited Kingdom, London
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ID 1336089
Lot 40 | LUIGI BIENAIMÉ (1795-1878), ROME, 1846
Estimate value
€ 80 000 – 120 000
LUIGI BIENAIMÉ (1795-1878), ROME, 1846
Bacchante dansante
marbre, signé et daté « L. BIENAIMÉ./.F.A.ROMA/1846 », reposant sur une base postérieure en placage d'acajou partiellement dorée
H. marbre : 147 cm (58 in.), H. base : 63 cm




Provenance

Ancienne demeure de la famille Wakeman, Yeaton Pevery, Shrewsbury.
Vente Sotheby’s, Londres, 20 décembre 2002, lot 177.
Galleria Francesca Antonacci, Rome, 2003.
Collection privée italienne.



Literature

BIBLIOGRAPHIE COMPARATIVE :
A.M. Ricci, Sculture di Luigi Bienaimé da Carrara, Rome, 1838.
H. Le Grice, Walks through the studii of the sculptors at Rome with a brief historical and critical sketch of sculpture, 2 vol., Rome, 1841.
J. Birkedal Hartmann, « La triade italiana del Thorvaldsen alcune considerazioni su temi mitologici e cristiani », in : G. Briganti, (dir.), Antologia di Belli Arte, n°23-24, 1984, pp. 99-108.
Canova alla corte degli zar. Capolavori dall'Ermitage di San Pietroburgo, cat. exp. (23 février - 2 juin 2008, Milan Palazzo Real), Milan, Palazzo Real, 2008, p. 124, cat. 18.



Exhibited

Rome, galerie Francesca Antonacci, 2003.
Florence, Equilibrium, Museo Salvatore Ferragamo, 19 juin 2014-12 avril 2015, p. 115.
Vérone, Arte e Vino, Palazzo della Gran Guardia, 11 avril au 16 août 2015, Vérone, 2015, p. 167, n°87.



Further Details

A MARBLE FIGURE OF A DANCING BACCHANTE, BY LUIGI BIENAIMÉ, ROMA, 1846

Like many neoclassical artists, Luigi Bienaimé is born in Carrara in 1795. Having obtained a scholarship in 1817, he continued his training in Rome in the studio of the sculptor Bertel Thorvaldsen (1770-1844). Upon contact with Thorvaldsen, Bienaimé developed a great interest for the ideal of beauty and strength specific to that period. Although in charge of Thorvaldsen's studio since 1827, the Danish master encouraged his pupil to be an independent sculptor. Later, Thorvaldsen's style persisted through the private commissions Luigi Bienaimé received.

Dancing Bacchante figures are among Bienaimé's most emblematic works. This classical subject had already inspired the leaders of Neoclassicism, including Antonio Canova (Bacchante with Symbols, 1812, marble, Berlin, Bode Museum, inv. 2/81) and Bertel Thorvaldsen (Dancer, 1817, plaster, Copenhagen, Thorvaldsen Museum, inv. A178). Bienaimé's choice is due to the constant popularity of this theme, the influence of his master and his previous projects (Bertel Thorvaldsen, Bacchante dansante, 1817, drawing, Copenhagen, Thorvaldsen Museum, inv. C1050r). Modelled with delicateness and according to the ideal of ancient grace, this Bacchante was a great success and various versions of this model were made. They were produced in three different sizes. The largest format was made in1840 and measures 181 cm high ; there is a copy in the Hermitage Museum in St Petersburg. The medium format was created in 1850 and measures 176 cm high ; there is a copy in the National Gallery of Armenia in Yerevan. The smallest format, of which our Bacchante is an example, was produced in 1846 and measures 149 cm high.
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