Joseph Bernard 1866-1931. Of stone and voluptuousness.
Snoeck| N° d'inventaire | 23334 |
| Format | 25 x 28.5 |
| Détails | 352 p., paperback with flaps. |
| Publication | Gent, 2020 |
| Etat | Nine |
| ISBN | 9789461616241 |
The Paul-Dini Municipal Museum in Villefranche-sur-Saône and La Piscine, the André-Diligent Museum of Art and Industry in Roubaix, are presenting the first monographic exhibition devoted to Joseph Bernard (1866-1931) in nearly thirty years. A key yet little-known sculptor on the French art scene of the early 20th century, he was considered in the 1920s as the equal of Bourdelle and Maillol. Marked by the legacy of Rodin, who was quickly surpassed, his work imposes a primitive and classical modernity and constitutes an essential milestone in the history of modern sculpture from 1905 to the 1930s. Beyond the image of the renovator of direct carving, the exhibition aims to rediscover the diversity of talents of Joseph Bernard, sculptor and draftsman, champion of love and dance, but also author of fascinating projects for decorative elements and public monuments. The tragic inspiration of the beginnings, anchored in the symbolist movement, rubs shoulders with a more joyful vein, mixing mythological motifs and scenes of family intimacy and drawing on models from Greek antiquity as well as from oriental cultures.
The Paul-Dini Municipal Museum in Villefranche-sur-Saône and La Piscine, the André-Diligent Museum of Art and Industry in Roubaix, are presenting the first monographic exhibition devoted to Joseph Bernard (1866-1931) in nearly thirty years. A key yet little-known sculptor on the French art scene of the early 20th century, he was considered in the 1920s as the equal of Bourdelle and Maillol. Marked by the legacy of Rodin, who was quickly surpassed, his work imposes a primitive and classical modernity and constitutes an essential milestone in the history of modern sculpture from 1905 to the 1930s. Beyond the image of the renovator of direct carving, the exhibition aims to rediscover the diversity of talents of Joseph Bernard, sculptor and draftsman, champion of love and dance, but also author of fascinating projects for decorative elements and public monuments. The tragic inspiration of the beginnings, anchored in the symbolist movement, rubs shoulders with a more joyful vein, mixing mythological motifs and scenes of family intimacy and drawing on models from Greek antiquity as well as from oriental cultures.