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拍品专文
PUBLISHED:
P. Bowels and M. Vargas Llosa, Claudio Bravo Pinturas y Dibujos, Madrid, 1996, p. 235.
This lively figure most likely represents the so-called Dancing Satyr, a Roman copy of a popular Hellenistic Greek prototype. "The dance is the favourite pastime, too, of the satyr who had already, in the works of the school of Lysippos, become an exponent of the lust for life of this period" (M. Bieber, The Sculpture of the Hellenistic Age, New York, 1967, p. 139). With head thrown back in ecstasy or turned to look at their tails, the variations held their arms aloft, or held pipes, clappers, a wine cup or swung a thrysus. For a related example cf. C. C. Vermeule, Greek and Roman Sculpture in America, Berkeley and Los Angeles, 1981, p. 166, no. 133.
P. Bowels and M. Vargas Llosa, Claudio Bravo Pinturas y Dibujos, Madrid, 1996, p. 235.
This lively figure most likely represents the so-called Dancing Satyr, a Roman copy of a popular Hellenistic Greek prototype. "The dance is the favourite pastime, too, of the satyr who had already, in the works of the school of Lysippos, become an exponent of the lust for life of this period" (M. Bieber, The Sculpture of the Hellenistic Age, New York, 1967, p. 139). With head thrown back in ecstasy or turned to look at their tails, the variations held their arms aloft, or held pipes, clappers, a wine cup or swung a thrysus. For a related example cf. C. C. Vermeule, Greek and Roman Sculpture in America, Berkeley and Los Angeles, 1981, p. 166, no. 133.