CLÈVE, Corneille van - b. 1646 Paris, d. 1732 Paris - WGA

CLÈVE, Corneille van

(b. 1646 Paris, d. 1732 Paris)

French sculptor and bronze-caster. He came from a family of goldsmiths of Flemish origin who settled in Paris in the early 17th century. Early biographers state that he trained with Michel or François Anguier and at the Académie Royale. He spent six years at the Académie de France in Rome, where he is said to have studied above all the sculpture of Bernini. This was followed by four years in Venice.

He applied for admission to the Académie in 1678, and he was received (reçu) in 1681 with a marble statuette of Polyphemus (Paris, Louvre), inspired by Annibale Carracci’s fresco in the Palazzo Farnese, Rome. From this time until 1720 he enjoyed a highly successful career in royal service and in the employ of the Church and of private clients. He devoted much energy to the affairs of the academy, eventually holding the office of Chancellor. He worked in every branch of sculpture, from monumental marble and bronze statues to small bronze statuettes and candlesticks.

Bacchus and Ariadne
Bacchus and Ariadne by

Bacchus and Ariadne

Although involved in several large-scale commissions, Van Cl�ve was probably at his best in more intimate work. A relaxed aspect of his art is seen in his sculptures of children. The original of his bronze group of Bacchus and Ariadne, shown at the Salon of 1704, appears untraced, though at least one copy survives, shown in the picture. Grace and urgency combine in this skilfully composed group, where the god gesticulates in a swirl of drapery as he assures the girl of immortality, and as the group is surveyed from the back Cupid is unexpectedly disclosed, lying concealed behind the lovers.

Polyphemus
Polyphemus by

Polyphemus

Van Cl�ve studied Annibale Carracci’s frescoes in the Farnese Gallery in Rome; his morceau de reception (presented in 1681), the Polyphemus, is directly derived in pose from Annibale’s composition there. Nevertheless, despite its derivative nature, the Polyphemus is important as the first reception piece to be a completely modelled statue and not a bas-relief. Its forceful musculature and robustly confident air initiate a whole series of such pieces.

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