Emmanuel Hannaux

Emmanuel Hannaux (born January 31, 1855 in Metz , † May 19, 1934 in Paris ) was a French sculptor and medalist . His work can be assigned to historicism .

Life

Emmanuel Hannaux was a French sculptor born in Metz in 1855. He began his training at the "Industrial School" in Strasbourg , which was interrupted by the outbreak of the Franco-Prussian War in 1870. He returned to Metz in order to continue his training in Nancy at the "École de Modelage et de Sculpture - School for Sculptural Design". During this time he made his living by carving pipes. In 1876 he moved to Paris and was accepted into the " École nationale supérieure des beaux-arts de Paris ". Here he studied under A. Dumont, Thomas and Bonnassieux.

Emmanuel Hannaux died in 1934.

His son Paul Hannaux (1899–1954), a well-known French landscape, portrait, still life and figure painter, emerged from his marriage to a professor of mathematics, who also came from Metz and taught at a Paris high school .

Awards

• 1880: 2nd Grand Prix de Rome for L'Enfant prodige (The Prodigal Son)
• 1884: 3rd medal from the Paris Salon
• 1889: 2nd medal from the Paris Salon for Le Bucheron
• 1894: 1st medal from the Paris Salon for Orpée mourant (Orpheus to die)
• 1900: 1st place at the Paris World Exhibition
• 1900: Knight of the Legion of Honor
• 1903: Medal of Honor from the Paris Salon for Le Poète et la sirène (Poet and Siren)

plant

Hannaux preferred to work with marble , bronze and plaster . He specialized in busts , classical figures and allegorical groups . He also designed various medals and plaques .

Well-known works by Emmanuel Hannaux are the figures “Phrynè Mercury”, “Mercur with Bacchus”, “Poet and Siren”, which were shown at the beginning of 1878 and in the following years in the Salon of the Société des Artistes Français des Élysée Palace in Paris alongside the works “Saints Cecilie ”,“ Danaide ”and“ Lorraine ”were exhibited. In 1878 he was accepted as a member of the Salon de Paris . For the Paris World Exhibition in 1900 he created two large groups of angels for the "Palais du Gènie civil" and reliefs for the "Chateau de l'Eau".

An article by G. Kutna about Emmanuel Hannaux that appeared in the January 1907 edition of the illustrated monthly Ost und West lists some of his works and the locations of his work.

According to this, there were busts in various churches of the city of Metz depicting Monseigneur Dupont des Lorges and the Bishop of Metz and a marble crucifix (location: Cathedral), the work “Madonna” (1888) (location: Our Lady Chapel) and the bust of the Baron de Ladoucette .

With regard to other locations of his marble work, reference was made to Luxembourg and museums in Nancy and Le Puy. The allegorical work “Fleur du Sommeil” (Blossom of Sleep), bought by the French government, is located in Le Puy.

The Luxembourg Museum acquired the work "Dying Orpheus" (1894), now in the Museum in Nancy. The work “L'Enfant prodique” (The Prodigal Son) is also in Nancy, for which Hannaux was awarded the 2nd Grand Prix de Rome in 1880.

Further marble busts created by him represent “Dr. Lailler “(Hospital Saint-Louis) from 1884, Sir Richard Wallace (1899) (Wallace Collection, London), Baroness James Rotschild (Hospital Picpus, Paris), Baroness Hirsch (New York), Mad. Coralie Cahen (Maison de Refuge, Neuilly), “Dr. Phil Pinel "(Academie de mèdecine)," Ambroise Thomas ". There are also the portrait busts of" Gabriel Monod ", the painter" Jules Valadou "," Abbè Wetterlè ", the men of the academy" Henri Weil "and" Joseph Derenbourg " also from "Victor Schoelcher" Père Lachaise .

In 1889 Hannaux won another medal with the patriotic group of plaster figures “Le Drapeau” (The Flag), which is located in France in the municipal “Musée Municipale de Draguignan”.

In 1908 a bronze sculpture by Hannaux was used to design the "Monument du Souvenir Francais - a haunting French regional monument" in Noisseville , Mossele. In 1922, Hannaux's design for the “Poilu-Libèrateur-Monument Esplande / Metz” prevailed against the design by Henri Bouchard .

The classic sculptural motif “Head of a helmeted youth” is documented in the literature “Art Deco and other Figures - by Bryan Catley”. Two more works by Hannaux appear here, under the titles "Roman Warrior" and "The Helmet". The theme is complemented by the bronze bust "Helmeted Youth" which was exhibited in the James Graham & Sons Gallery - New York Art Gallery . Hannaux presumably served Hellenistic motifs as a template for these works. Like the motif “Head of a helmeted youth”, other popular motifs such as “Poet and Siren”, “Flower of the Sleep” and “Mercury with Baccus” and the like were also used. a. from the French bronze foundries “ Susse Frères Foundry, Paris u. E. Colin ”cast in reduced dimensions (shop bronze) for the salons of the upper class of the time.

A very elaborately designed, life-size bronze on the subject of "Head of a helmeted youth" is in the exhibition of the Renaissance building " Horst Castle " in Gelsenkirchen-Horst. The bronze cast “Young man with armor and helmet” (height 82 cm with base, width 74 cm, weight 50 kg) is on loan from the “Werner Bibl Collection - Promotion of Art in Public Space”. Typical for the late 19th century, the bronze bust reflects in its design on works of the Florentine Renaissance of the 15th century. A direct echo of the Renaissance can be heard from the work. Hannaux thus also represents the European zeitgeist of the time. A large number of European sculptors moved between historicism and realistic detail precision.

A comparison with a work by the German sculptor Joseph Johann Ludwig Uphues , the Sabine group “A Sabine defends his sister” from 1886, which is located in the city park of Düren, is also recommended .

In contrast to other “Head of a helmeted youth” designs, the otherwise bare shoulder and chest area is provided with protective armor, which, like the helmet, is characterized by a detailed surface treatment with countless elaborate chasings. The bust is related to a similar work held in the world famous collection of the Walker Art Center in Minneapolis .

review

In the essay by G. Kutna published in January 1907, the sculptor Emmanuel Hannaux is honored: “A modest man, of clarified simplicity, a creator in quiet enthusiasm is Emmanuel Hannaux, the designer of pure nudity and noble humanity. "I love art, I love the naked" is his whole program, and he gives this love visual expression. So he pursues beauty with a straight mind, full of reverence for nature, pious and courageous in his love. The purifying and ennobling that is inherent in the naked is even more effective with him through melancholy and pensiveness, which emerge like a breath of poetry from deeply submerged soul. The human body is a testimony to the nobility of life, and the human soul is poetic devotion; but it urges us to be worldly pious. Hannaux, attracted by the Hellenic spirit and Hellenic poetry, creates man's naked glory, clear and pure in form. Far from brooding and profundity, without ambiguity and conceptual relationship are his structures; Forms and beauty are their only characteristic of the world of the senses, they convey a perception of space in an artful way, swelling life with sculptural clarity. ”In his further remarks, G. Kutna describes Hannaux's work as that of a Greek disciple. G. Kutna reviewed the marble works of the artist Hannaux as follows: “In the marble groups of the artist, ideal existence stirs in relaxed, beautiful movement; Passive responsibility and lively resilience give an attractive artistic contrast. Life forces perceptibly pervade a slumbering existence; the body lies down, spellbound by the heaviness, and the modeled life form conceals a diverse desire for movement. Her hands and fingers are still half awake; they touch the lyre (Orpheus) as if reaching for sound; they grasp the jug with dull touch (Danaide) and are inspired by play and activity (Poet and the Siren), go up and down like waves, come like waves from a pensive dream existence. "

Museums and collections

• Museum of Modern Art , New York
• Walker Art Center , Minneapolis
• Wallace Collection , London
• Draguignan Museum
• Nancy Museum
• Le Puy-en-Velay Museum
• City of Metz
• City of Gelsenkirchen " Horst Castle "
• Musée des Beaux-Arts , Rouen

literature

• Dorothea Stern : Emmanuel Hannaux . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 15 : Gresse – Hanselmann . EA Seemann, Leipzig 1922, p. 591-592 ( Text Archive - Internet Archive ).
• Leonard Forrer: Biographical Dictionary of Medallists. Volume 2, 1907, p. 418 (wrong: Hanneaux, E.) and Volume 7, p. 416.
• James A. Mackay: The Dictionary of Sculptors in Bronze. Aberdeen (UK), Reprinted 2000, ISBN 1-85149-110-4 , p. 177.
• Bryan Catley: Art Deco and other Figures. Aberdeen (UK) 1984 p. 117 - ISBN 0-902028-57-X , p. 117.
• G. Kutna: Emmanuel Hannaux . In: East and West. Illustrated monthly for all of Judaism, 7th year, issue 1, January 1907, pp. 13-14.
• Maurice Block: Hannaux, Emmanuel. In: The Jewish Encyclopedia 1901–1906, 12 volumes USA / Copyright 2002 “Jewish Encyclopedia.com” p. 220.
• Emmanuel Hannaux . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 2 : E-J . EA Seemann, Leipzig 1955, p. 369 .
• The Minneapolis Institute of Arts and Walker Art Center by Christopher Monkhouse- - curator-, Walker Center, Minneapolis Year: Unknown.
• James Graham & Sons, New York Art Gallery NYC, 1014 Madison Avenue . New York. Year: unknown.
• Annette Maas: A turning point in Alsace-Lorraine. Monument falls and reinterpretation of the National Memorial Landscape in Metz (November 1918–1922) . In: Winfried Speitkam (Ed.): Denkmalsturz. On the history of the conflict of political symbolism . Göttingen 1997, pp. 79-108.
• AuctionAbility Inc. in Amherst US / Buffalo Jun 2004.
• Peter Bloch: Rhineland-Westphalia and the Berlin School of Sculpture of the 19th Century . Prussian Cultural Heritage Foundation, Berlin 1984 ISBN 3-88609-310-7 .

Web links

• historismus.net

Individual evidence

1. ↑ See also Annette Maas: “The turning point in Alsace-Lorraine. Monument falls and reinterpretation ... "
2. ^ G. Kutna: Emmanuel Hannaux . In: East and West. Illustrated monthly for all of Judaism, 7th year, issue 1, January 1907, pp. 13-14.