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The word ''Barye'' is stamped on the base."}],"identifier":[{"accession_number":"M.1-1944","primary":true,"type":"accession number","value":"M.1-1944"},{"priref":"13599","type":"priref","value":"13599"},{"source":"Art UK","type":"external ID","value":"CAM_CCF_M_1_1944"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/13599","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/13599"}],"inscription":[{"location":"on base","method":"stamped","transcription":[{"value":"Barye"}],"type":"signature"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1944,"latest":1944,"value":"1944"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1944-03-17"}]}],"creation":[{"date":[{"earliest":1845,"era":["CE"],"latest":1845,"note":[{"value":"Date of original model 1838. Original model revised to include integrally-cast base c. 1845. Present model (with integral base) cast at an unknown date after 1845."}],"precision":"after","value":"1845"}],"maker":[{"@link":{"role":[{"value":"sculptor"}],"type":"reference"},"admin":{"id":"agent-8007","uid":"adlib-agent-8007","uuid":"b9847a81-d5e5-3e2c-b666-4612f3341f31"},"summary_title":"Barye, Antoine Louis"}],"note":[{"value":"Dubbed the \u2018Michelangelo of the Menagerie\u2019 by art critic Th\u00e9ophile Gautier (1811\u201372), Barye was a Romantic realist artist based in Paris who popularised the genre of animal sculpture from the 1830s onwards. Animals were very low down in the traditional Academic hierarchy of accepted subject-matter for artists, and the term animalier (an artist specialising in animals) was coined by critics specifically for Barye as a pejorative appellation. Barye was a successful monumental sculptor, but also created hundreds of small-scale models of animals for reproduction in bronze editions for middle-class homes. His last sales catalogue of 1865 listed over 230 compositions available to order as edition bronze statuettes. Keen for accuracy, Barye studied ancient animal sculptures as well as live beasts in the Mus\u00e9e d\u2019Histoire Naturelle\u2019s menagerie, copied zoological specimens in the Mus\u00e9e d\u2019Anatomie Compar\u00e9e and made anatomical drawings of dead lions. Bayre\u2019s animal portraits include single animal figures (e.g. M.19-2015) and groups of predators with prey, or in combat with each other (e.g. M.1-2015), and some with human figures (e.g. M.5-2015).\n\nThe model for this bronze derives from a life-size plaster model made by Barye in 1832, which was exhibited at the Paris Salon in 1833. It was later cast into bronze for Louis-Philippe (King of France from 1830 to 1848), and exhibited at the 1836 Salon (now Louvre, Paris, L.P. 1184). The composition was intended as an allegory to flatter the king with the lion symbolic of courage, strength and good kingship triumphing over evil. It also commemorated the fact that in July 1830, when the Revolution saw Louis-Philippe placed on the French throne, Leo and Hydra were the ruling constellations.\n\nBarye\u2019s company produced different models derived from the original large sculpture at different dates and in different sizes. The sketch model with lion\u2019s paw raised (known as Lion au serpent, no. 3 [esquisse]: see M.3-2015) dates from 1832; a further version, with a much rockier landscape surface (known as Lion au serpent, no. 2: see M.2-2015) was first cast in bronze in 1857. Although listed as No. 2, this was actually Barye\u2019s third variant. The present model is the closest to the original sculpture with the lion and serpent on a flatter, less rocky surface and dates from c. 1838.\n\nAfter Barye's death, the model for this version was one of 78 foundry models purchased at his 1876 studio sale by the Paris-based art dealer Hector-Henri-Cl\u00e9ment Brame (1831-99) with the right to reproduce them. It is unclear whether the present version was cast during Barye's lifetime, or was a posthumous production by Brame."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106853","uid":"adlib-term-106853","uuid":"25492eb4-1164-35eb-8dce-3601486f3415"},"summary_title":"19th Century"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-120306","uid":"adlib-term-120306","uuid":"4c444129-3d8c-340f-bfbd-b4d82e5cbd17"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"}]],"summary_title":"France"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39741","uid":"adlib-term-39741","uuid":"47d44741-af05-37c3-b21e-0e278b114f3b"},"summary_title":"copper 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