Sculpture
1840-1860 (made)
| Artist/Maker | |
| Place of origin |
Object Type
The composition, probably based on figures made for a fountain, is known in a number of variants and was evidently popular as a garden decoration.
Time
The motif of children playing with a goose is of classical origin. The group relates stylistically to figures produced around 1545 by Niccolò Tribolo and Pierino da Vinci, who were both specialists at modelling children. However, it was made by a reproductive technique, and tests indicated that the sculpture was fired less than 150 years ago, probably not long before it was acquired and sketched by Edward Burne-Jones (1833-1898). This type of image has clearly appealed to different western cultures over an extensive period.
Materials & Making
The group was made from moulded clay, which was then fired to form the more permanent terracotta. This method of production allows replicas to be made quickly and comparatively easily. Expansion of air or water during firing can cause breakage, so the clay group was first left to dry as much as possible. The even thickness of the wall of this hollow sculpture also helped to regulate water loss, further reducing the risk of breakage. Cast-lines were removed and details sharpened in the 'leather-hard' clay before firing.
The composition, probably based on figures made for a fountain, is known in a number of variants and was evidently popular as a garden decoration.
Time
The motif of children playing with a goose is of classical origin. The group relates stylistically to figures produced around 1545 by Niccolò Tribolo and Pierino da Vinci, who were both specialists at modelling children. However, it was made by a reproductive technique, and tests indicated that the sculpture was fired less than 150 years ago, probably not long before it was acquired and sketched by Edward Burne-Jones (1833-1898). This type of image has clearly appealed to different western cultures over an extensive period.
Materials & Making
The group was made from moulded clay, which was then fired to form the more permanent terracotta. This method of production allows replicas to be made quickly and comparatively easily. Expansion of air or water during firing can cause breakage, so the clay group was first left to dry as much as possible. The even thickness of the wall of this hollow sculpture also helped to regulate water loss, further reducing the risk of breakage. Cast-lines were removed and details sharpened in the 'leather-hard' clay before firing.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Cast terracotta |
| Brief description | Boy and Girl with Goose |
| Physical description | Two naked figures of a boy and a girl are posed frontally standing side by side against a tree stump. A goose is supported on the girl's back. |
| Dimensions |
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| Gallery label |
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| Object history | Possibly based on figures by Niccolo Tribolo (probably born in Florence, Italy, 1500, probably died there in 1550) and Pierino da Vinci (born in Vinci, Italy, about 1529, died in Pisa, Italy, 1553) Probably made in Florence, Italy. |
| Historical context | The group is known in a number of variants and was evidently popular as garden decoration. The motif of children playing with a goose is of classical origin. |
| Subjects depicted | |
| Summary | Object Type The composition, probably based on figures made for a fountain, is known in a number of variants and was evidently popular as a garden decoration. Time The motif of children playing with a goose is of classical origin. The group relates stylistically to figures produced around 1545 by Niccolò Tribolo and Pierino da Vinci, who were both specialists at modelling children. However, it was made by a reproductive technique, and tests indicated that the sculpture was fired less than 150 years ago, probably not long before it was acquired and sketched by Edward Burne-Jones (1833-1898). This type of image has clearly appealed to different western cultures over an extensive period. Materials & Making The group was made from moulded clay, which was then fired to form the more permanent terracotta. This method of production allows replicas to be made quickly and comparatively easily. Expansion of air or water during firing can cause breakage, so the clay group was first left to dry as much as possible. The even thickness of the wall of this hollow sculpture also helped to regulate water loss, further reducing the risk of breakage. Cast-lines were removed and details sharpened in the 'leather-hard' clay before firing. |
| Bibliographic references |
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| Collection | |
| Accession number | 8527-1863 |
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| Record created | December 15, 1999 |
| Record URL |
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