Figurines, sculptures

Figurines, sculptures by world famous artists such as Hiëronymus Bosch, Salvador Dali, Egar Degas, Gustav Klimt, Amedeo Modigliani, Auguste Rodin, Leonardo da Vinci and Michelangelo.
All figurines are made of polystone and consist of crushed stone (e.g. granite, marble, soapstone) which is mixed with a liquid resin. By mixing the stone with the a...

Figurines, sculptures by world famous artists such as Hiëronymus Bosch, Salvador Dali, Egar Degas, Gustav Klimt, Amedeo Modigliani, Auguste Rodin, Leonardo da Vinci and Michelangelo.
All figurines are made of polystone and consist of crushed stone (e.g. granite, marble, soapstone) which is mixed with a liquid resin. By mixing the stone with the acrylic resin results in a pourable mixture. This mixture is poured into a rubber mold of the image. After curing, the image is removed from the mold. The sharp protrusions and edges of the image to be removed, it is sanded and then polished in multiple steps. After this, the image is hand painted, dried and re-polished. The result is a sculpture that is as hard and strong as stone and also feels so.

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Figurines, sculptures  Please click on the artist.

Subcategories

  • Hieronymus Bosch

    Hiëronymus Bosch (†1516) - From an artistic point of view, the world famous brillant forerunner of surrealism was, in his day, unique and radically different. Hiëronymus (Jeroen for short) Bosch was born during the transition from the Middle Ages to the Renaissance in 's-Hertogenbosch, in the Duchy of Brabant. Bosch places visionary images in a hostile world full of mysticism, with the conviction that the human being, due to its own stupidity and sinfulness has become prey to the devil himself. He holds a mirror to the world with his cerebral irony and magical symbolism, sparing no one. He aims his mocking arrows equally well at the hypocrisy of the clergy as the extravagance of the nobility and the immorality of the people. Hiëronymus Bosch's style arises from the tradition of the book illuminations (manuscript illustrations from the Middle Ages). The caricatural representation of evil tones down its terrifying implications, but also serves as a defiant warning with a theological basis.

  • Salvador Dalí

    Dalí 1904-1989. Dalí sublimated his life in his art of painting. Relying on great craftmanship, acquired in all sorts of art experiments, he lifted surealism, in a inimitable self-willed manner, to exceptional heights. He photographed, as it were, associatively what enacted in his mind. Incited by, at the time, new psychological insights he tried to fix his subconscious with images, and to visualise his dreams in all their inscrutable symbolism. It was for his purpose that he developed his famous "paranoid-critical" method. To us, one dimensional mortal souls, only the paintings and other expressions remain as fascinating witness to a literally unbelievably intense and active life. Perhaps we are so drawn to them because not only do they allow us to have a look inside Dalí's subconscious, but they also are a mirror reflecting our own souls.

  • René Magritte

    René Magritte (1898-1967) was born in Lessines near Tournai in Frenchspeaking Belgium in 1898. He spent his childhood in Châtelet and Charleroi. He attended the Académie des Beaux-Arts in Brussels from 1916 to 1918. There he met the brothers Victor and Pierre Bourgeois and the painter Pierre-Louis Flouquet. In 1919 Magritte contributed to the first issue of the review Au Volant published by the Bourgeaois brothers. After a year of military service he worked as a designer, first of all for a wallpaper manufacturer in Brussels and then as a freelance designer of posters, publicity materials and exhibition stands. He painted his first acclaimed Surrealist painting, The Lost Jockey, in 1926 and in the same year, along with the other Belgian surrealists, signed the declamatory leaf-lets Two Disgraces and The Married Couple of the Eiffel Tower. Between 1927 and 1930 Magritte lived in Le Perreux-sur-Marne near Paris, during which time he became acquainted with Hans Arp, André Breton, Salvador Dalí, Paul Eluard and Joan Miró. Magritte’s provocative essay ‘Words and Pictures’ was published in the last issue of La Révolution Surréaliste in 1929, a year after he painted The Empty Mask.

  • Gustav Klimt

    Klimt was a prominent member of an innovating group of artists called "Sezession" and is considered to be one of the main pioneers of modern art. Apart from this, ornamental Jugendstil style evokes an irresistible feeling which is inspired by the "fin-de-siècle" of the 19th century Vienna: elitist, liberal-middle class, decadent, pleasantly-decorative. His work is extremely recognizable due to his monumental style combined with Byzantine-like ornamental art and classical symbolism, created against the background of romanticism which was so characteristic of his time. In Sezession's own words: "Art guides us to an ideal realm, the only place where we will be able to find pure joy, pure happiness and pure love. A choir of angels from paradise. Joy given by divine sparkles. That kiss from the entire world".

  • Michelangelo

    Michelangelo (1475-1564). As an artist,sculptor, architect and poet Michelangelo di Lodovico Buonarroti Simoni was the archtype of the Renaissance artist, the "uomo universale".

  • Amedeo Modigliani

    Amedeo Modigliani's work is recognised immediately by many people because of the typical elongated shapes. His paintings show his passion for sculpting, a craft which he had to give up in 1915 due to ill health. He was born in the Tuscan town of Livorno and received his academic education in Florence and Venice. In 1906 he established himself in the famous Montmartre area in Paris, where his talent was instantly recognised by the East European avant-garde. He had a short and eventful artistic life, he was extremely driven and longed for recognition. But his life was also marked by alcoholism, metaphysical fears and progressive tuberculosis. At hte age of 36, Modigliani left the world an oeuvre that shows a sincere, obsessive search for truth and purity within art.

  • Rodin and Claudel

    Rodin 1840-1917. For a long time the life of the sculptor Rodin was marked by the mixed reactions his work provoked with his audience. The lack of understanding for Rodin's work was partly due to the original character of his art. He felt little for the strict formats of Romanticism and neighter did he want to identify himself with the neutrality of the Impressionists. Rodin's work is characterised by a passion for the human body and he considered himself incapable of any creativity if he did not have a living model in front of him. "In everything I follow nature and never pretend I am able to control her. My only ambition is to be subservient and faithful to her". He said. Questions about his often controversial, erotic works were answered with the remark: "Art is actually nothing more than a manifestation of lust, which only arises from the potency of love". Rodin's life upheld this belief with a vast succession of lovers having passed his artistic eye. Many affairs were brief, but one of them turned out to be of enormous value to his later work: Camille Claudel. This self-willed, fierce woman, who was a very talented sculptor herself, inspired him to create his most famous and admired sculptures. The affair continued for a long time, although Camille had to put up with Rodin's numerous escapades and his loyal companion Rose Beuret. Eventually, the affair ended and Camille suffered the dramatic consequences of this split. She became isolated and confused and in the end she was forced by her family to have herself admitted to a psychiatric hospital. Towards the end of his life, Rodin could look back upon a successful career. He had given his work to the French government, which had in turn promised to found a museum in his name. Rodin was buried with full honours and the words his father had once spoken turned out to be prophetic: "The day will come that people will say about you, what they say about all trully great men: the artist Auguste Rodin is dead, but he lives on for our descendants, for the future".

  • Leonardo da Vinci

    Leonardo da Vinci (1452-1519) tended to compensate for his lack of an education in the classical sense with an excess of empirical studies. The most famous of these is the Vitruvian Man so-called because it is based on a description of the ideal human proportions by Roman architect Vitruvius (around 85-20 BC).

  • Edgar Degas

    Edgar Degas (1834–1917). The course of life of the Parisian painter had few dramatic peaks. Being the eldest son of a well-to-do family the cynical, snobby loner was able to devote his life to the arts. Furthermore, he remained a bachelor, because: "There is love and there is work, and we only have one heart." His classical education can be recognised in his earlier work, in particular the strict composition and lining inspired by Ingres whom he greatly admired. Degas took a special position within the group of artists led by his friend Monet, who regularly got together in the ‘Café Gurebois’. His cynicism and sharp tongue however, made him difficult in company and many ideas from Zola, Renoir and Monet did not appeal to him. Although he referred to himself as an ‘independent realist’, he was very much involved in the impressionistic revolution and the themes and techniques developed in his works are considered to have formed the synthesis between the traditional and modern art of painting. In 1874, together with Monet, he organised the first exhibition of the ‘independents’, which was named ‘the impressionists’ by a critic. A term he never liked, preferring to present himself as an unsentimental realist: "I know nothing of inspiration, spontaneity and temperament." He locked himself up inside his studio and used photos as a mnemonic device, whilst others went outside with the tubes of paint which had recently come onto the market. Degas considered that utter nonsense: ‘Painting is not a sport!’, besides: "I do not have the habit of painting when I am in the countryside." In his fifties he began to encounter financial problems and on top of that his eyesight began to deteriorate. However, according to Renoir only then ‘the real Degas’ emerged through his paintings. Degas himself said: "Anyone can be talented when he is twenty-five, what counts is to have talent when you are fifty."

  • Mourners

    During the late Middle Ages, the dukes of Burgundy of the House of Valois were the leading rulers in Northern Europe. The fabulous tombs of Philip the Bold (1342-1404) and his son John the Fearless (1371-1419) bear witness to their enormous wealth.
    The best sculptors in Northern Europe were attracted to create the tombs including Jean de Marville and Claus Sluter and Claus van de Werve from Haarlem. They designed the gothic arcades that bear the tomb’s bed with, beneath them, the famous procession of mourners: lay brothers, Carthusian monks, family members and friends all clad in the mourning robes handed out during the funeral.
    The depiction of mourning figures on graves is a tradition that can be traced back to the classic sarcophagi for which there was renewed interest during the 13th century. Mourners were generally bas reliefs featuring static postures and had never before been so three-dimensionally depicted or with their robes so expressively sculpted.

  • François Pompon

    François Pompon (1855-1933). Pompon was born in Saulieu in French Burgundy as the son of a carpenter. At his fifteenth he takes service with a stonemason in Dijon where he learns the principles of sculpting and attends evening classes at l’Ecole des Beaux Arts. Five years later he goes to Paris where he also works for a stonemason in Montparnasse during the daytime. In the evening he attends classes at l’Ecole Nationale des Arts Décoratif. During his education he meets Pierre-Louis Rouillard, a sculptor of animal figures – who possible became a source of inspiration for the work which would make him famous later on. It is not until 1919 that his work starts attracting more interest. He sells a stone sculpture of a turtledove to Musée de Luxembourg and two years later three plaster animal figures to Musée de Grenoble. Not until he is 67 years old does he get his final breakthrough with the exhibition of l’Ours Blanc in plaster at the Salon des Artiustes Français. Successful exhibitions follow in Tokyo and Osaka and the ice bear, which had become famous by then is produced in marmble. Upon his death, Pompon left nearly 300 pieces to the French state which were eventually displayed at the Musée des Beaux Arts in Dijon. The Musée d’Orsays in Paris has a large collection of plaster models.

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