XIXth Century Wood Mannequin. Italy or France, late 19th century

Atelier mannequin
graven and carved stone pine wood
Italy or France, late 19th century
h 102 cm x 25 cm x 14 cm
h 40.15 in x 9.84 in x 5.51 in
State of conservation: good. Small gaps in the ears and behind the right knee. A slit on the nape shows an ancient integration.

The mannequin is sculpted in a realistic manner, with the well-shaped torso musculature and harmoniously shaped limbs. The feet are accurately rendered and the hands are graceful: both are finished with well-defined nails. The face is set in a serious expression, mitigated by the softness of the mouth.
The surface of the wood is soft and "in patina".

The verb "mannequiner" (from which the English word “mannequin” comes) appeared for the first time in eighteenth-century France and is used to describe the act of skilfully draping cloth over a mannequin with a natural effect (MUNRO, J., Silent Partners: Artist and Mannequin from Function to Fetish, Fitzwilliam Museum, Cambridge, October 14, 2014 - January 25, 2015, exhibition catalogue, p. 28).
“... The articulated human figure made of wax or wood was a common tool in artistic practice in Europe from the 16th century. Its indefatigable limbs and silent compliance enabled the artist to study anatomical proportion, fix a pose at will and perfect the depiction of drapery and clothing. In the course of the 19th century, however, the mannequin (or “lay figure” in English) gradually emerged from the studio to become a subject in its own right, at first humorously, then in more troubling ways, playing on the unnerving psychological presence of a figure that was realistic, yet unreal, lifelike, yet lifeless.
Despite the plethora of human effigies and avatars, both virtual and real, that inhabit our 21st century existence, the mannequin continues to fascinate and disturb, an empty vessel for our fears and fantasies ... ”(MUNRO, Jane, op. cit., introduction to the exhibition catalogue).
“As a tool in the artist’s arsenal, however, mannequins were hidden from view and rarely, if ever, included in representations of the artist’s studio – their presence hinting at the laborious act of painting and diminishing the perception of the artist as inspired genius …” (MUNRO, Jane, op. cit., p. 2).