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  • Josef Lorenzl Art Deco Bronze Dancing Nude figure
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610a
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610h
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610g
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610f
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610e
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610d
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610c
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610b
  • Josef Lorenzl Art Deco Bronze Dancing Nude 4610i

A very fine Austrian bronze cold painted figure of an Art Deco beauty in striking stylised pose with one leg raised, demonstrating both her elegance and balance, with good detail and colour. Raised on a Brazilian green onyx plinth and signed Lorenzl.

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Cold Painted Bronze and Onyx

Book Ref

Art Deco and Other Figures by Bryan Catley

Page No.


From an Art Nouveau Figure to an Art Deco Figure

The characteristics of an Art Nouveau figure at the turn of the nineteenth century was its adoration of the female form. This theme was carried forward in the Art Deco sculpture of the 1920’s and 1930’s, but whereas the Art Nouveau sculptors placed their women on pedestals, often seeing them as symbolic, mythical creatures with spiritual undertones, the Art Deco sculptors portrayed their figures as they saw them in everyday life – playing tennis, smoking cigarettes or dancing in a wild fashion. Women were no longer presented as images from a dream but were shown participating in realistic pursuits. The fact that sculptors began to model their female subjects dressed in the latest fashions was further evidence that they had left the idealistic fantasies of the Art Nouveau period behind them.

The emancipation of women which came about after the First World War freed them, not only from the stifling corsets and the hobble skirts of the nineteenth century but also from the archaic restraints of ‘good’ society that up till then saw them just as decorative, albeit useful, objects. Having actively played their part in the war effort, women were no longer prepared to be treated as second-class citizens. They embraced life with vigour and threw themselves wholeheartedly into the newly fashionable recreational and sporting activities. Responsive to changing tastes and the demands of their audience the Art Deco sculptors adopted the new decorative vocabulary and subject matter with enthusiasm.

The success and development of an Art Deco figure would not have been possible without the already established Art Nouveau tradition of using alternate materials for artistic purposes. A prime example of this was the increased employment of ivory in sculpture. Following the opening up of the Belgian Congo in the late 1890s there had been an influx of this medium into Europe which had resulted in the production of a range of small bronze and ivory sculptures. Furthermore the pantograph, invented by Achille Collas in the mid nineteenth century, which allowed for the small-scale reproduction of large sculptural pieces, was further developed in the early twentieth century to enable sculptors to carve ivory with the same degree of accuracy and detail on repeated editions. Referred to as chryselephantine these figures were made up of separate sections: the arms, the hands, the feet and the head usually being of finely carved ivory while the base and torso were cast from bronze. Cleverly fitting together so as to create the illusion that these figures were made entirely of ivory beneath a bronze costume, these pieces were enhanced by the application of several coloured lacquers (a technique known as cold-painting), or the delicate tinting of the ivory lips and cheeks or the gilding or silvering of the stylised bronze form.

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SKU: 4610

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