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The Equestrian statue - a study of its history and the problems associated with its creation
Thesis (PhD)--University of Pretoria, 1982.
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University of Pretoria
2014
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| access_status_str | Open Access |
| author2 | Nilant, F.G.E. (Felix Gottlieb Ernst) |
| author_browse | Nilant, F.G.E. (Felix Gottlieb Ernst) |
| author_facet | Nilant, F.G.E. (Felix Gottlieb Ernst) |
| collection | Thesis |
| dc_rights_str_mv | © 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. |
| description | Thesis (PhD)--University of Pretoria, 1982. |
| format | Thesis |
| id | oai:repository.up.ac.za:2263/41808 |
| institution | University of Pretoria (South Africa) |
| language | English |
| last_indexed | 2026-06-10T12:37:41.144Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UPSpace — University of Pretoria Institutional Repository |
| publishDate | 2014 |
| publishDateRange | 2014 |
| publishDateSort | 2014 |
| publisher | University of Pretoria |
| publisherStr | University of Pretoria |
| record_format | dspace |
| source_str | UPSpace — University of Pretoria Institutional Repository |
| spelling | oai:repository.up.ac.za:2263/41808 The Equestrian statue - a study of its history and the problems associated with its creation Nilant, F.G.E. (Felix Gottlieb Ernst) Duffey, Alexander Edward Tradition of erecting equestrian statues Statues from the Greeks Sovereigns Portrayal Man on horseback UCTD Thesis (PhD)--University of Pretoria, 1982. 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. gm2014 Historical and Heritage Studies Unrestricted 2014-08-27T08:53:23Z 2014-08-27T08:53:23Z 1982-05-02 1982 Thesis Duffey, AE 1982, The Equestrian statue - a study of its history and the problems associated with its creation, PhD thesis, University of Pretoria, Pretoria, viewed yymmdd <http://hdl.handle.net/2263/41808> D14/4/461/gm http://hdl.handle.net/2263/41808 en © 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. application/pdf University of Pretoria |
| spellingShingle | Tradition of erecting equestrian statues Statues from the Greeks Sovereigns Portrayal Man on horseback UCTD The Equestrian statue - a study of its history and the problems associated with its creation |
| title | The Equestrian statue - a study of its history and the problems associated with its creation |
| title_full | The Equestrian statue - a study of its history and the problems associated with its creation |
| title_fullStr | The Equestrian statue - a study of its history and the problems associated with its creation |
| title_full_unstemmed | The Equestrian statue - a study of its history and the problems associated with its creation |
| title_short | The Equestrian statue - a study of its history and the problems associated with its creation |
| title_sort | equestrian statue a study of its history and the problems associated with its creation |
| topic | Tradition of erecting equestrian statues Statues from the Greeks Sovereigns Portrayal Man on horseback UCTD |
| url | http://hdl.handle.net/2263/41808 |