George Minne


Kneeling youth of the fountain

Plaster with gum-patine
Heigth: 79 cm

Signed: G. MINNE

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- H. Devohgelaere, "George Minne en de bibeloterie", in: Kunst, no. 10 (Gent: André Vyncke, 1930), p. 235-240 (ill. of another sculpture).
- L. Van Puyvelde, George Minne (Bruxelles: Cahier de Belgique, 1930), no. 26, pl. 25 (ill. of another sculpture).
- Paul Vogt & Werner Kreutzberer, Museum Folkwang Essen. Das Museumgebäude (Essen: Museum Folkwang/W. Th. Webels, 1966), ill. 6 (ill. of another sculpture).
- R. Hoozee (red.), Veertig kunstenaars rond Karel van de Woestijne, exh. cat (Gent: Museum voor Schone Kunsten/ Provinciebestuur/ Stadsbestuur, 1970), p. 148, 149, nr. 69, 71 (ill. of another sculpture).
- Thys, H., "Vlaamse schilderkunst te Latem," in: Mauretus (Antwerpen: Verzekeringsmaatschappij Mauretus, 1978) (ill. of another sculpture).
- S. Creuz, P. D'Arschot, A. Dasnoy e.a., L'Art en Belgique. Hommage à Luc et Paul Haesaerts (Bruxelles: Palais des Beaux-Arts, 1978), p. 87, nr. 43 (ill. of another sculpture).
- R. Hoozee, M. Tahon-Vanroose & A. Alhadelf, George Minne en de kunst rond 1900, exh. cat. (Ghent: MSK, 1982), p. 12, 148-149, no. (ill. of another sculpture).
- Belpaire, M.-J., "De Genste kunstenaar George Minne (1866-1941)," in: Spiegel Historiael, jrg. 20, no. 1 (januari 1985), p. 37, no. 3 (ill. of another sculpture).
- R. Hoozee, D. Lampens, P. Baudson e.a., De eerste groep van Sint-Martens-Latem 1899-1914 (Brussel: KMSKB, 1988), p. 151, nr. 11 (ill. of another sculpture).
- R. Hoozee, Vlaams expressionisme in Europese context (Gent: SDZ-Ludion, 1990), p. 27, nr. 5 (ill. of another sculpture).
- W. & G. Pas, Biografische lexicon plastische kunsten in België, dl. 2 (Arto, 2000), p. 149 (ill. of another sculpture).
- Engelen-Marx, Beeldhouwkunst in België vanaf 1830, deel I A-D (Brussel: Algemeen Rijksarchief, 2002), p. 258 (ill. of another sculpture).
- R. Hoozee, M. Miyazawa, Light of Flandres. Images of a beautiful Belgian Village, exh. cat. (Japan: Himeji City Museum of Art, Bunkamura Museum of Art & Okuda Genso Sayume Art Museum, 2010), p. 35, nr. 5 (ill. of another sculpture).
- M. Bisanz-Prakken, George Minne und die Wiener 'Moderne' um 1900 (Wien: Wienerroither & Kohlbacher, 2011) (ill. of another sculpture).
- R. Hoozee, M. Tahon-Vanroose & C. Verleysen, De wereld van George Minne & Maurice Maeterlinck, exh. cat (Antwerpen: Mercatorfonds, 2011-2012), p. 185, 189, 217, 228 (ill. of another sculpture).
- I. Rossi-Schrimpf, George Minne - Das Frühwerk (Weimar: VDG, 2012), p. 41, 43, 212, 243, 250, 376, no. P21 (ill. of another sculpture).
- Robert-Jones, Ph. e.a., Belgische Kunst - Belgian Art - L'Art Belgique, exh. cat. (New York: The Brooklyn Museum, 1980), p. 135, no. 73 (ill. of another sculpture).
- Gleis, Ralph (ed.), Decadence and Dark Dreams. Belgian Symbolism (Berlin: Nationalgalerie - Staatliche Museen zu Berlin / Hirmer, 2020),fig. 1, 80-89, 114, 117, 322.
Sculptures of this subject are represented in the following collection:
- MoMa, New York, object no. 232.1962 (plaster);
- Museum Van Buuren, Brussels (brons);
- Muséee d'Orsay, Paris, RF 3256 (bronze);
- Rijksmuseum Kröller-Müller, Otterlo, KM 125.732 (bronze);
- Kunsthalle, Hamburg, S-1980-5 (marble);
- Museum Boymans-Van Beuningen, Rotterdam, BEK 1292 (MK) (marble);
- Museum des 20. Jahrhunderts, Wenen (marble);
- Clemens-Sels Museum, Neuss (Germany), 1964PI017 (plaster);
- National Gallery of Victoria, Melbourne, 2011.10 (plaster);
- Museum of Fine Arts, Ghent, 86874/ 5 (bronze).
Minne settled in Brussels in 1895, and around this time a new theme appeared in his sculpture, that of the kneeling adolescent boy. This serie took several forms, the best-known of which is exemplified by the Kneeling Youth, his arms folded over his chest in a self-protecting gesture. Five of these figures, in large scale and placed in a circle, form the Fountain of the Kneeling Youths - called 'The Narcissus Fountain' by the poet Karl Van de Woestyne - which is near the Cathedral of St. Bavo in the city of Ghent. The project for the fountain was shown at La Libre Esthétique of 1899. Though criticized at the time, the fountain became the major work of Symbolist sculpture. More than one observer has noted the direct influence of this ascetic, introverted figure on the work of the young Wilhelm Lembruck.
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