Mannequin Articulé circa 1800
- Mannequin Articulé
- wood, probably walnut, metal hardware, fully articulating with peg and ball joints and movable fingers, removable breasts and painted face and head
- height: 67 in.
- 170.2 cm
These mannequins range in size from six inches to more than life-size, and served a variety of purposes. Early surviving sixteenth and seventeenth century wooden articulated figures, almost all of which are German and Austrian and referred to as Gliederpuppe, were intricately carved to a high degree of finish and likely intended for display in a Kunstkammer (cabinet of curiosities) to reflect the “perfect human form”. As a tool in the artist’s arsenal, however, mannequins were hidden from view and rarely, if ever, included in representations of the artist’s studio – their presence hinting at the laborious act of painting and diminishing the perception of the artist as inspired genius (Munro, p. 2).
By the nineteenth-century, when the present mannequin was likely produced, Paris was home to the leading ateliers producing the most elaborate and lifelike mannequins articulés. Built around a clever skeleton of wood peg and ball joints and metal fasteners which can be posed in multitude ways (fig. 1), the body of these mannequins was most often soft and shaped out of horsehair, wax, silk, cotton and painted papier-maché. In the present model, hardwood has been beautifully hand-planed and defines the musculature of the body, evident in the calves, forearms, the naturalistic rib cage with its clavicles and neck muscles clearly rendered, overlapping the pelvis to hide mechanical elements beneath and creating a rare naturalistic effect. Also unique are the classically proportioned and serene painted face, implying that the mannequin is of French origin, and the removable breasts which allow it to play the role of either gender.
This tactile simulation of the human body has a startling and sensory effect, even on present-day viewers. Certainly, the distinctly gendered Gliederpuppe, with their carefully rendered anatomy, imply an erotic appeal for collectors, while twentieth century and contemporary artists have treated mannequins as subjects rather than stand-ins (Munro, p. 35-6). Indeed, Surrealist artists like Salvador Dali, Giorgio Di Chirico, Hans Bellmar and Man Ray all exploited this subject to create potent narratives and amplify the psychological friction in their work, a tradition continued by the prosthetics of Cindy Sherman and Jake and Dinos Chapman.
The present mannequin articulé is a rare and exceptional example of an essential component of the nineteenth century artist’s studio, and yet it transcends its functionality and compels reflection on how images are constructed and the body is represented.
We would like to extend special thanks to Marion Harris, New York, for her kind assistance in cataloguing this lot.