The gallery is open every Saturday and Sunday, 2-6pm and by appointment

The gallery is open every Saturday and Sunday, 2-6pm and by appointment

George Minne

(1866 - 1941)

Kneeling youth

1898
Plaster
Signed on base: G MINNE
80 x 17,5 x 40 cm
Galerie Reinke, Berlin
With his sculpture The Kneeling Youth of the Fountain from 1898, George Minne created one of the most poignant and iconic sculptures of symbolism in Belgium and far beyond. The modest, kneeling youth – naked, slender, head bowed, arms folded across his chest – embodies an intense inner emotional life. The work is not a classical heroic nude figure, but a tranquil expression of introspection, vulnerability and existential loneliness.

The design of this sculpture is part of a series of five identical kneeling youths that together form The Fountain of the Kneeling. However, each of these sculptures was also created as an autonomous work of art and has been dispersed among various museum collections, including:
Musée d'Orsay (Paris, France)
Museum Folkwang (Essen, Germany)
Neue Nationalgalerie (Berlin, Germany)
Kröller-Müller Museum (Otterlo, Netherlands)
Museum of Fine Arts Ghent (Belgium)

Minne's interpretations of the Kneeling Youth had a profound influence on his contemporaries and later artists. The emphasis on inner experience, the ascetic body and spiritual intensity resonate with the visual language of Gustav Klimt and Egon Schiele in Austria, and with the mysticism of Rodin and Meunier in France and Belgium. In contrast to Rodin's powerful dynamism, Minne opts for tranquillity and emotional intensity, elevating symbolism to a pure and sober visual language.

George Minne, a key figure in the First Group of the “Latem School” and closely associated with the writers of "La Jeune Belgique" and "Van Nu en Straks", sought pure, inner beauty in his work. The Kneeling Youth of the Fountain marks the beginning of modern introspective sculpture and is rightly considered his masterpiece.

This sculpture embodies the transition from the nineteenth-century academic tradition to a more modern expression in which the psychological dimension takes centre stage. The young man turns away from the world and inward – a universal human gesture that continues to resonate today.
Similar item in the collection:
MoMa, New York, object no. 232.1962 (plaster)
Museum Van Buuren, Brussels (bronze)
Musée d'Orsay, Parijs, inv. RF 3256 (bronze)
Rijksmuseum Kröller-Müller, Otterlo, inv. KM 125.732 (bronze)
Kunsthalle, Hamburg, inv. S-1980-5 (marble)
Museum Boymans-Van Beuningen, Rotterdam, inv. BEK 1292 (MK) (marble)
Museum des 20. Jahrhunderts, Vienna (marble)
Clemens-Sels Museum, Neuss (Germany), inv. 1964PI017 (plaster)
National Gallery of Victoria, Melbourne, inv. 2011.10 (plaster)
Museum voor Schone Kunsten, Gent, inv. 86874/ cat. 5 (bronze)
Belpaire, M.-J., "De Genste kunstenaar George Minne (1866-1941)," in: Spiegel Historiael, jrg. 20, no. 1 (January 1985), p. 37, no. 3 (ill. other copy).
Bisanz-Prakken, M., George Minne und die Wiener 'Moderne' um 1900 (Wien: Wienerroither & Kohlbacher, 2011) (ill. other copy).
Boyens, P., Symbolisme in Vlaanderen, exh. cat. (Zwolle: WBOOKS, 2022), 24-27, 135 (ill. other copy).
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. 43.
Devohgelaere, H., "George Minne en de bibeloterie", in: Kunst, no. 10 (Gent: André Vyncke, 1930), pp. 235-240 (ill. other copy).
Engelen-Marx, Beeldhouwkunst in België vanaf 1830, deel I A-D (Brussel: Algemeen Rijksarchief, 2002), p. 258 (ill. other copy).
Gleis, R. (red.), Decadence and Dark Dreams. Belgian Symbolism, exh. cat. (Berlin: Nationalgalerie - Staatliche Museen zu Berlin / Hirmer, 2020), fig. 1, pp. 80-89, 114, 117, 300, 322 (ill. other copy).
Hoozee, R. (red.), Veertig kunstenaars rond Karel van de Woestijne (Gent: Museum voor Schone Kunsten/ Provinciebestuur/ Stadsbestuur, 1970), pp. 148, 149, nr. 69, 71 (ill. other copy).
Hoozee, R., M. Tahon-Vanroose & A. Alhadelf, George Minne en de kunst rond 1900, exh. cat. (Gent: MSK, 1982), pp. 12, 148-149, no. (ill. other copy).
Hoozee, R., D. Lampens, P. Baudson e.a., De eerste groep van Sint-Martens-Latem 1899-1914, exh. cat. (Brussel: KMSKB, 1988), p. 151, nr. 11 (ill. other copy).
Hoozee, R., Vlaams expressionisme in Europese context (Gent: SDZ-Ludion, 1990), p. 27, nr. 5 (ill. other copy).
Hoozee, R., 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 (compare copy in bronze).
Hoozee, R., M. Tahon-Vanroose & C. Verleysen, De wereld van George Minne & Maurice Maeterlinck, exh. cat (Antwerpen: Mercatorfonds, 2011-2012), pp. 185, 189, 217, 228 (ill. other copy).
Pas, W. & G., Biografische lexicon plastische kunsten in België, dl. 2 (Arto, 2000), p. 149 (ill. other copy).
Robert-Jones, Ph. e.a., Belgische Kunst - Belgian Art - L'Art Belgique, tent.cat. (New York: The Brooklyn Museum, 1980), p. 135, no. 73 (ill. other copy in bronze).
Rossi-Schrimpf, I., George Minne - Das Frühwerk (Weimar: VDG, 2012), pp. 41, 43, 212, 243, 250, 376, no. P21 (ill. other copy in bronze).
Simpson, J. & A. von Bonsdorff, Gothic Modern. From Edvard Munch to Käthe Kollwitz, exh. cat. (Helsinki/ Oslo/ Wenen: Ateneum Art Museum/ The National Museum/ Albertina Museum, 2024), p.110-111, nr. 103 (ill. other copy).
Thys, H., "Vlaamse schilderkunst te Latem," in: Mauretus (Antwerpen: Verzekeringsmaatschappij Mauretus, 1978) (ill. other copy).
Van Puyvelde, L., George Minne (Bruxelles: Cahier de Belgique, 1930), no. 26, pl. 24 & 25 (ill. other copy).
Vogt, P. & W. Kreutzberer, Museum Folkwang Essen. Das Museumgebäude (Essen: Museum Folkwang/W. Th. Webels, 1966), ill. 6 (ill. other copy).
Zeman, B. (red.), Gewagte Visionen, exh. cat. (Neuss/Köln: Clemens Sels Museum/ Wienand, 2023), pp. 88-89, 94-101, 150, cat.no. 12 (ill. other copy).

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