French Sculpture Census

crédits photo : The J. Paul Getty Museum, Los Angeles
© artiste : public domain

ANGUIER, Michel
Eu, Seine-Maritime 1612 - ? 1686

Jupiter
Jupiter

1652, fonte probablement de la fin du XVIIe siècle
bronze

statuette
61 x 36,8 x 13

N° d'inv. : 94.SB.21
Credit Line : The J. Paul Getty Museum, Los Angeles

Los Angeles, California, The J. Paul Getty Museum

www.getty.edu/museum

Bibliographie

  • Museum's website, accessed 22 March 2012 and August 3, 2018
  • 1997 Fusco
    Peter Fusco, Summary Catalogue of European Sculpture in The J. Paul Getty Museum, Los Angeles, The J. Paul Getty Museum, 1997, p. 2, repr.

Exposition

  • 2009 New York/Los Angeles
    Cast in Bronze: French Sculpture from Renaissance to Revolution, New York, The Metropolitan Museum of Art, February 24 to May 24, 2009; Los Angeles, The J. Paul Getty Museum at the Getty Center, June 30 to September 27, 2009

Commentaire



Museum's website, accessed August 3, 2018:
Despite this statuette's small size, Jupiter, the supreme Roman god and ruler of Olympus, stands powerful and tall, ready to hurl his punishing thunderbolts. As he raises his arm, his toga falls, revealing clearly defined musculature on his chest and protruding veins on his arms. At his side stands an eagle, the attribute that identifies the god. Based on several well-known antique sculptures, the figure conforms to the thundering Jupiter type. The artist has chosen to depict him just before he releases his fatal thunderbolts onto wrongdoers: the anticipation of his raised right arm adds tension to the stable figure.
Jupiter may have belonged to a group of figures of Roman gods and goddesses that was designed by the sculptor Michel Anguier for display in an aristocratic home. While multiple casts of the other figures survive, this statuette appears to be the only known cast of the figure of Jupiter. The figure's dramatic gesture, intense focus, and powerful body correspond to the Roman Baroque style popular in seventeenth-century France. The classical theme and the statue's relationship to antique works would also have appealed to aristocratic French patrons.