George Minne

(1866-1941)

The man with the waterbag

1897
bronze
63.8 x 41.5 x 26 cm (25 ¹/₈ x 16 ³/₈ x 10 ¹/₄ inches)
Signed on base: GMinne / Foundry mark: J. PETERMANN BRUXELLES

Signed on base: GMinne / Foundry mark: J. PETERMANN BRUXELLES

Contact Us
Literature
- Fierens-Gevaere, H., "George Minne," in: G. Soulier, Art & Décoration, Emile Lévy Ed., Paris, 1901, p. 109-110.
- "George Minne," in: Ver Sacrum: Mitteilungen der Vereinigung Bildender Künstler Österreichs, no. 4 (1901), p. 28- 29.
- Van Puyvelde, L., George Minne (Bruxelles: Cahier de Belgique, 1930), no. 23, planche 21.
- De Jonge, C.H., Boon, K.G., Hefting, J.V.C. e.a., Vlaamse kunstenaars van de Leie 1890-1940, tent.cat. (Utrecht: Centraal Museum, 1947), p. 43, cat.no. 88.
- De Ridder, A., George Minne (Antwerpen: De Sikkel, 1947, no. 10.
- Vanbeselaere, W., Moderne Vlaamse Schilderkunst (Brussel: Arcade, s.d.), 96.
- Hoozee, R. (red.), Veertig kunstenaars rond Karel van de Woestijne (Gent: MSK/ Provinciebestuur/ Stadsbestuur, 1970), p. 46-47, nr. 67.
- Creuz, S., 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. 42.
- Hoozee, R. & M. Tahon-Vanroose, George Minne en de kunst rond 1900, cat. (Gent: Gemeentekrediet, 1982), p. 35-40, 132-133, nos. 59-60.
- D'Haese, J., Moderne Vlaamse Kunst van Ensor tot Landuyt, exh. cat. (Knokke: Casino, 1985), p. 24, no. 30 (ill. of another bronze).
- Wilhelm Lehmbruck-George Minne-Joseph Beuys, cat. (Gent: ASLK/ Stad Gent, 1991), p. 142.
- Valerius De Saedeleer en George Minne (Sint-Martens-Latem: Latemse Kunstkring, 1992), p. 64, no. 22.
- Van Doorne, V., C. Baumann M.A., Sint-Martens-Latem - Worpswerde 1880-1914 twee kunstenaarskolonies (Deinze/ Worpswede: MDL/ Grosse Kunstschau, 1996), p. 76, nr. 10.
- Engelen-Marx, Beeldhouwkunst in België vanaf 1830, deel I A-D (Brussel: Algemeen Rijksarchief, 2002), p. 2600.
- Hoozee, R., M. Tahon-Vanroose & C. Verleysen, De wereld van George Minne & Maurice Maeterlinck (Antwerpen: Mercatorfonds, 2011-2012), p. 169.
- Rossi-Schrimpf, I., George Minne. Das Frühwerk (Weimar: VDG, 2012), p. 79, 163, 190, 212, 370, ill. 74, no. P17 (ill.).
Provenance
- Collection Lippens, Belgium.
Description
Various aspects of Minne’s sculptural art around 1900 are present in the sculpture The man with the waterbag. To make a perfect figuration, the sculptor opts for young male nudes. It hardly shows any sign of physical strength, but the pose emphasizes a certain strength and provokes spirituality. This young men is introverted and isolated from the rest of the world. Minne creates a slim strong young man, who is placed in an almost impossible pose to keep his body balanced. His slender muscles are tense, while lifting the leather water bag just before pouring it out. The artist is not interested in showing physical strength as such, but he wants to show a mentally moving scene and inner strength. In the original design of the sculpture, the water must be seen as the source of life. Influenced by symbolism, Minne links the water theme to mirroring or reflection, looking at yourself, which leads to introspection. The multiple meanings of the work are typical of Minne's oeuvre. He tries to combine religious and worldly aspects. The man with the water bag can be seen as a profane image of John the Baptist, but with a different and more universal meaning. This bronze was cast at Petermann in Brussels and provided with their foundry stamp.
A copy of the same subject is in the collection of the Kröller-Müller Museum in Otterlo (the Netherlands).
You May Also Like

The man with the waterbag