39 - Italian School, 16th century. After a model by Giambologna (Douai, 1529 – Florence, 1608)

Italian School, 16th century. After a model by Giambologna (Douai, 1529 – Florence, 1608) “Crouching Venus” or “Venus at Her Bath.” Bronze with a greenish patina. Wooden base. Measurements: 70 x 35 x 20 cm; 80 x 54 x 36 cm (with base). This sculpture is closely related to Giambologna’s famous “Crouching Venus,” one of the most representative compositions of the revival of classical models in Florentine sculpture during the second half of the 16th century. Inspired by the Hellenistic tradition of Aphrodite in the Bath, this sculptural invention is an outstanding example of the transformation of the classical ideal through the dynamic language of Mannerism. The considerable size of the piece on display—70 cm in height—gives it a monumental presence that is uncommon among the small bronze reductions known to exist of this model. The origin of this iconography lies in the Crouching Aphrodite, a Hellenistic-period composition traditionally attributed to the sculptor Doidalsas of Bithynia, who was active during the 3rd century B.C. The model achieved extraordinary popularity during the Roman period, as evidenced by the 1st-century CE marble example preserved in the Uffizi Gallery in Florence. Its revival during the Renaissance reflected a renewed interest among artists and collectors in ancient sculpture, which was considered a fundamental reference for the study of anatomy, movement, and the proportions of the human body. Giambologna developed a personal interpretation of this tradition through a crouching female figure, caught in the act of washing herself, whose pose invites the viewer to contemplate her from different angles. The composition embodies one of the essential principles of his sculptural language: the pursuit of a figure conceived entirely in three dimensions, without a single privileged frontal view. The twist of the torso, the movement of the arms, and the position of the limbs create a continuous sequence of forms that transforms as the viewer circles the sculpture. Of particular importance is the example of the Crouching Venus housed at the Museo Nazionale del Bargello in Florence, attributed to Giambologna and dated around 1565. Historical records link this composition to a statuette mentioned in Ferdinando de’ Medici’s 1584 inventory—a significant piece of information for establishing its circulation within Florentine courtly collecting circles. The Metropolitan Museum of Art in New York also holds versions of the model cast in bronze during the 17th century, attesting to the continuity of its artistic popularity and its reproduction in specialized workshops. The sculpture on display shares with this tradition the depiction of the female nude in a poised pose, the upward movement of the arm, and the delicacy of the expression. Its particular interest lies in the interpretation of the model on a scale considerably larger than that of many of the known versions, which accentuates the figure’s three-dimensional presence and allows one to appreciate the development of the anatomy from different perspectives. The patina, with its green and brown tones, helps to highlight the modeling and lends the surface a rich variety of nuances. Giambologna, born Jean de Boulogne in Douai, was one of the leading sculptors of the late European Renaissance. Initially trained in the Flemish tradition, he spent most of his career in Florence, where he attained a privileged position in the service of the Medici. His work represented a profound renewal of the language of sculpture, characterized by elegant proportions, complex movement, and an extraordinary ability to conceive compositions intended to be viewed from multiple angles. Among his most celebrated works are *The Rape of the Sabine Women* in the Loggia dei Lanzi in Florence, *Flying Mercury*, and his various interpretations of Venus, which helped cement his international prestige. The dissemination of his models through small bronze sculptures was one of the most significant phenomena in European collecting during the late Renaissance and the Baroque period. The activity of his workshop and the subsequent work of sculptors and casters such as Antonio Susini facilitated the circulation of these compositions among the major European courts, where they were appreciated both for their artistic quality and for their connection to classical ideals.