After Giambologna

The Sleeping Nymph epitomises Giambologna’s innovative style. His initial inspiration was a famous antique model, the celebrated 2nd century Roman figure of Ariadne in the Vatican. Giambologna transformed his source from a monumental marble of a clothed mythological woman, which would have been admired by every grand tourist or papal official in Rome, into an intimate, small bronze nude, unencumbered by extraneous attributes. The first record of this model is as a gift from Grand Duke Francesco de’Medici to his brother Ferdinando who was at that time a cardinal in Rome in 1584, although the model may well date from much earlier in Giambologna’s career.

The model exists in two main variations, either with or without a satyr. The satyr is typically cast separately and attached to the end of the plinth creeping up to the reclining nude in an attitude of mischievous surprise. Although the model of the unaccompanied reclining nymph was conceived by Giambologna before that of the narrative variations that include the satyr, there are only a few versions of this type known. It is possible that the narrative version gained greater favour or that some were fitted retrospectively with satyrs. Examples of the composition without the satyr, like the present bronze, are in the collections of the Victoria & Albert Museum (inv. no. A75-1956) and in the Staatliche Museen, Berlin (inv. no. 2743).

RELATED LITERATURE

A. Radcliffe & C. Avery (eds.), Giambologna: Sculptor to the Medici, Arts Council of Great Britain, London, 1978