Head of Paris, paired with the sculpture 'Bust of Helen of Troy'.
Head of Paris, paired with the sculpture 'Bust of Helen of Troy'. - 8225
Head of Helena
Head of Helena - 8227
Dancer with a crown of flowers in her hair
Dancer with a crown of flowers in her hair - 8211
Dancer with a crown of flowers in her hair
Dancer with a crown of flowers in her hair - 8212
Dancer with a crown of flowers in her hair
Dancer with a crown of flowers in her hair - 8213
Dancer with a crown of flowers in her hair.
Dancer with a crown of flowers in her hair. - 8214
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze.
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze. - 8208
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze.
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze. - 8209
Dancer with a crown of flowers in her hair
Dancer with a crown of flowers in her hair - 8210
Ebe, detail
Ebe, detail - 8219
Head of Helena
Head of Helena - 8220
Dancer with a crown of flowers in her hair
Dancer with a crown of flowers in her hair - 8215
Head of Helena
Head of Helena - 8221
Head of Paris, paired with the sculpture 'Bust of Helen of Troy'.
Head of Paris, paired with the sculpture 'Bust of Helen of Troy'. - 8222
Head of Helena
Head of Helena - 8223
Head of Paris, paired with the sculpture 'Bust of Helen of Troy'.
Head of Paris, paired with the sculpture 'Bust of Helen of Troy'. - 8224
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze.
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze. - 8205
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze.
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze. - 8206
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm.
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm. - 8182
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition.
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition. - 8197
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition.
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition. - 8198
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition.
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition. - 8199
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition.
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition. - 8200
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition.
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition. - 8201
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style.
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style. - 8176
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm.
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm. - 8187
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze.
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze. - 8202
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze.
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze. - 8203
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze.
This is the second version of the sculpture, very similar to the previous one. Exhibited at the Paris Salon, the work was again criticised due to the colour choices made by the artist and the presence of the decorative elements in gilded bronze. - 8204
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm.
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm. - 8183
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm.
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm. - 8184
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm.
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm. - 8185
Bust of Napoleon
Bust of Napoleon - 8194
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition.
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition. - 8195
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition.
The Three Graces is a sculptural group, true to the neo-classical ideal, of ancient goddesses personifying feminine charm. The composition is compact and balanced. The maidens stand around a sacrificial altar on which there are three crowns of flowers and a garland, symbolising their bonds of competition. - 8196
Bust of Napoleon
Bust of Napoleon - 8190
Bust of Napoleon
Bust of Napoleon - 8191
Bust of Napoleon
Bust of Napoleon - 8192
Bust of Napoleon
Bust of Napoleon - 8193
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm.
Sculpture of Cupid, commissioned by Prince Yusupov. Cupid is captured in a moment of calm. - 8186
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style.
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style. - 8169
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style.
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style. - 8170
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style.
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style. - 8171
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style.
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style. - 8172
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style.
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style. - 8173
Orpheus detail
Orpheus detail - 8174
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style.
Copy of Orpheus from the sculptural group of 'Orpheus and Eurydice'. The choice of the most dramatic moment, the tension and dynamism, the twist and grimace on Orpheus' face are clear evidence that the sculptor was still influenced by the late Baroque style. - 8175
Three Graces, detail
Three Graces, detail - 10036
Mary Magdalene in Penance, detail
Mary Magdalene in Penance, detail - 10035
Ebe, detail
Ebe, detail - 10006

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