Through the ages the portrayal of man on horseback has provided the
sculptor with the chall~nge to solve one of the most baffling
compositional problems in Art. The problem involves the balancing of
a vertical mass on a large horizontal one, which in its turn rests on
slender supports. To add to the complexity, the natural gait of the
horse is unsuitable for artistic reproduction and must be skilfully
modified so as to look natural and be aesthetically acceptable.
Further, horse and rider must form a unity, which reflects the
character of the rider.
In spite of the formidable technical, compositional and aesthetic
problems associated with this type of sculpture, the monumental
equestrian statue has always been a popular form for honouring
heroes and sovereigns. The representation of man controlling the
powerful majestic horse and at the same time looking down on his
fellow men from his elevated position on the back of the horse,
appealed to the depostic ruler as well as to the man on the street.
The monumental equestrian statue had its origin in the sixth century
B.C. in ancient Greece. Since then it has flourished in times of
autocracy. The ancient Greeks solved most of the technical,
compositional and aesthetic problems of the equestrian statue. The Romans inherited the tradition of erecting equestrian statues from
the Greeks and made it the sole privilege of sovereigns. Solutions to
technical and compositional problems were taken over directly from the
Greeks. The Romans, however, preferred bronze as a medium
instead of marble. In spite of the compositional freedom which the
use of bronze gave the sculptors, the Romans preferred a rest fur
figure showing a rider as triumphator.
During the Middle Ages most of the Roman equestrian statues were
destroyed, with the exception of a few. The Marcus Aurelius in
Rome was mistaken for a statue of Emperor Constantine, the first
Christian emperor, and it was spared. Since it showed a barbarian
beneath the forelegs of the horse, the statue became symbolic of
Christianity overcoming paganism. In this sense the equestrian
statue acquired symbolic funerary implications. Stone was the
favourite medium and the sculptors of the Middle Ages solved
numerous problems associated with the creation of an equestrian
statue in this medium. Bronze equestrian figures were neglected
because the technical know-how of the Greeks and Romans had been
lost.
The Renaissance once more focussed the attention on the individual,
thereby reviving the truly secular commemorative equestrian statue of
Classic Antiquity. Technical, compositional and aesthetic secrets of
Antiquity were gleaned from surviving equestrian statues and antique
sources. Donatello revived the Roman tradition of monumental bronze
equestrian statues with his Gattamelata, while Verrocchio created the
first secular equestrian monument since Antiquity with his Colleoni
equestrian monument. Although Leonardo's Sforza and Trivulzio
equestrian statues have not survived, the solutions which he found to
technical, compositional and aesthetic problems while working on them,
were to have a profound influence on all later equestrian statutes. A
complete revisal of the commentaries on his notes connected with these
monuments have proved that he not only renewed the entire technical
approach to this sculptural form, but he also found new compositional
and aesthetic solutioDuring the period from the Baroque to the end of the nineteenth
century, Leonardo's innovations were implemented. The Giambologna
studio in Italy established the proto-types for all Baroque equestrian
statues. The French inherited this tradition. A complete history of
all the French equestrian statues before the French Revolution is
given. During the nineteenth century technical improvements
resulted in the mass production of equestrian statues throughout the
world.
A complete history of all the equestrian monuments in South Africa is
given and it is indicated how this form was adapted to South African
conditions. Modern technical and compositional methods are discussed
and evaluated.ns which completely revolutionised the creation of
equestrian statues. / Thesis (PhD)--University of Pretoria, 1982. / gm2014 / Historical and Heritage Studies / Unrestricted
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:up/oai:repository.up.ac.za:2263/41808 |
| Date | January 1982 |
| Creators | Duffey, Alexander Edward |
| Contributors | Nilant, F.G.E. (Felix Gottlieb Ernst) |
| Publisher | University of Pretoria |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Rights | © 1982 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. |
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