Charles Cumberworth - Untitled

The iconography of motherhood is closely linked to the subject of the Madonna and Child. It is probably one of the most popular iconographies in the history of both Western and Eastern art. The Madonna and Child appears since the dawn of medieval painting and remained a constant subject as long as religious themes dominated artistic production (that is, until the 19th century, when themes inspired by everyday life began to be introduced). It is quite common for contemporary artists to treat the iconography of motherhood without directly linking it to the Christian religion.

In this beautiful sculpture in the round, Charles Cumberworth once again celebrates the human figure, in its vitality and in the expression of an intimate and familiar feeling. In his sculptures, Cumberworth draws on a classical and traditional concept of artistic creation. As we can see in this work, the sculptor pursues a total naturalistic rendering, which he achieves through his remarkable technique. The artist manages to emphasize the subject's volumes, creating a balanced relationship within the work. There is also a sense of idealization, inherent in the concept of sculptural creation that harks back to classicism, and also discernible in the harmony and balanced proportions that permeate the entire work. The figure follows a wavy line derived from Greek sculpture, just as the dress, with its complex drapery, and the woman's hairstyle are inspired by the ancient world.

Charles Cumberworth, born in Verdun on 17 February 1811, and died in Paris in 1852, was a French sculptor. A pupil of Jean-Jacques Pradier at the École des Beaux-Arts in Paris (1829), we owe him bronze objects, vases, pendulums and candelabra. His most famous sculptures are L'Amour de soi (Musée des Beaux-Arts de La Rochelle), Lesbie et son spoin (Paris, Musée du Louvre) and Paul and Virginie (1851).

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