The four seasons by Dropsy |
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| SPRING - SUMMER - AUTUMN - WINTER | ||||
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Allegoric representations of the four seasons have been a popular theme in painting
as well as in garden statuary throughout the centuries. Henri Dropsy produced his version
of the theme around 1927. The bas-reliëf sculptures were originally issued in ceramic 20 X 20 cm,
later in cast bronze and struck medals in 5 x 5 cm format.
Dropsy chose for the square format and represents the figures sitting. With few but well chosen attributes
he renders the essence of each season. In 'Printemps' (spring) the figure faces us, sitting with her legs crossed in front of her, her arms holding a light basket filled with spring flowers and leaves. The figure is in the spring time of her life, as are the flowers in the basket. 'Eté' (summer) shows the figure, in a relaxed position, taking a rest under the shadow of a dense tree. The scene suggests heat and luxurious vegetation. In 'Automne', the girl carries a heavy plateau filled with a wealthy harvest of pumpkins, apples and grapes. She rests her chin on her knee under the burden. 'Hiver' (winter) is the most expressive of the series. All elements suggest the harshness of weather conditions and the bareness of nature. Henri Dropsy had a long career as a talented medallist, and his work cannot be reduced to one particular style. He was able to use whatever style was appropriate to render his theme at best. These four sculptures are in the best tradition of the 'arts decoratifs' style. Stylistic features are symetry and stylisation, however here it does not lead to the coolness which we find in many art deco works. The modelling was obviously done by hand, but not only the modelling of the figures, also the frame, the lettering, and the background, which contributes to the unity and harmony and warmth in the representation. The high reliëf, the successive planes in the composition ( the lettering partially hidden by the basket in Printemps and Eté), elements coming over the edges of the frame (the left foot of the girl in summer or the tree branch in winter), give depth and liveliness to the composition. The background is blank, there is no landscape or vegetation to distract us. The figures are shown in four different, natural, well balanced positions. What a contrast with the often exaggerated, demonstrative attitudes of figures in some of the art nouveau medals. Here, they are represented as they are, without underlying message, except the invitation to enjoy their beauty. The scenes are purely decorative, a homage to the beauty, harmony and generosity of nature. | ||||
Emmanuel Van Dorpe, Kortrijk, Belgium
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