Style-critical view

Due to the technique used and the way in which depth and space were represented, only a limited number of artists are interesting for comparison.

In particular, the reliefs made by Giambologna (Jean de Boulonge), his workshop or his successor Pietro Tacca are interesting for comparison. Perhaps these works have been an artistic role model for my original.

Giambologna was a contemporary of Henry IV and has prepared an equestrian statue for him. In addition, Henry IV was married to the Florentine Maria von Medici.

Giambologna was a Flemish-Italian sculptor of the Florentine school of Mannerism and late Renaissance. He was born in France in 1529 and died in 1608 in Florence, where he lived from 1553 and worked as a sculptor.

The bronze reliefs created by him are interesting as a comparison for my relief. The perspective is also an area there and not a point, on the representation of the hands was also placed there greatest value.

The works of Barthélemy Prieur are also interesting. He was born ca. 1536 in Berzieux, France and died 1611. He was a french sculpteur. He studied art in Italy and worked between 1564 and 1568 for the Duke of Savoie in Turin. After his return to France, he introduced the Italian-style, especially small bronzes into French art. In 1591 Prieur was appointed sculptor to Henry IV.

Interesting to compare are also the works of Guillaume Dupré (ca. 1574 - 1643). He was born in Sissonne, France and died in 1643 in Paris. He worked first for Barthélemy Prieur, and married 1600 his daughter.

In 1603 Dupré was named "Sculpteur Ordinaire du Roi". In the following year he was promoted to "Contróleur Général des Points été Effigies des Monnaies". In 1611 he was awarded the title "Premier Sculpteur du Roi".

Dupre engraved medals for Henry IV.

They all knew Henry IV personally and worked for him.

Ferdinando Tacca's works are also interesting for a comparison. He was born in 1619 in Florenz as son of Pietro Tacca, who was the successor of Giambologna. He died 1686 in Florenz.

Perspective

The perspective of the original is not focused on one point, but is focused on one area.
The reliefs of Giambologna have the same technique, the lines do not lead to a point but end in one area.
This allows the relief to be viewed from the left, from the center and from the right and always looks different.

The hands - incredible expression and detail

The richness of detail on my relief is very large and the portraits are very apt. The horses and the bridle are equally well presented as the buildings. Very special are also the hands shown below. These support the respective expression of the person and are of particular striking, good quality.
Also on the reliefs of Giambologna the emphasis was placed on the representation of the hands.

So many horses

I found twelve horses on the relief. Some horses can be seen from the side, from the front, in motion. With some horses you can only see a small part.