George Minne (1866-1941)

Galerie Georges Giroux, Brussel, 1929
Private Collection, Brussels and thence by the descent to the present owner

Ghent, Museum voor Schone Kunsten, George Minne en de kunst rond 1900, September - December 1982, cat. 55, pp. 123/124, illustration of another cast

L. van Puyvelde, George Minne, Brussels 1930, no. 19, plate 17, illustration of another cast

In good condition.
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Minne found his inspiration, as many other artists from his time, in medieval art. The pureness of his work recall the religious and spiritual creations of Gothic sculpture. He often realizes this pureness and simplicity by taking the work away from its narrative context. Minne's themes often deal with pain, anxiety, sorrow and despair, usually personified by mother and child (see lot 56) but in this case father and son. The prodigal son is taken from the new testament where a son demands his share of his inheritance while his father is still alive, goes off and leads a sinful and meaningless life. When he spent all his money and he has to take up a job as a swine herder he comes to his senses and decides to go home and ask for his father's forgiveness. Instead of punishing him, the father warmly welcomes him back into his house and even kills a calf to celebrate his return. The unconditional love between a parent and a child in this story has inspired many artists throughout the years, the physiological state of the father being an interesting and complex emotion to depict.

In this sculpture Minne sharply carves the father's face, especially his eyes. His expression is stirring and intensely emotional. One reads unbelief, relief and gratefulness in his face and resolution and strength in his body. We don't see the son's expression but his physical state becomes clear from the bony structure and weak helpless attitude of his body. The two bodies meld together beautifully but are contrasted by their physical expressions.

The choice of the theme of the human suffering is not surprising when one realises that from the very beginning of his career he was well acquainted to Symbolist writers and poets who were preoccupied with existential problems. Moving to Brussels he met even more important Symbolist colleagues such as the Dutch artists Jan Toorop and Johan Thorn Prikker with whom he shared an interest for the social and political situation. Their works also show a similar interest in style as well. Elongated limbs positioned in an almost decorative way are very typical for the mannerist style this symbolist artist used. 

This bronze just as the one of lot Woman grieving for her Children (lot 56) are both casts by the foundry Petermann in Brussels. This company, which produced high quality bronzes, went bankrupt circa 1900. As both sculptures bear the stamps of the foundry, they were cast around this time which makes these works life time casts and even more rare and special.