Description
If you like competition and bodybuilding, you cannot miss the opportunity to have your own Sandow trophy. Made of organic polymer and with perfect finishes. It measures 45cm tall. Nothing more than a statuette.
Eugen Sandow (1867-1925), considerado el padre del culturismo moderno fue el primer deportista que hizo exhibición de su musculatura y el primer organizador de competiciones físico culturistas a principios del siglo XX en el Royal Albert Hall con él mismo, Sir Arthur Conan Doyle y Sir Charles Lawes como jueces.
He was a really strong man, even compared to today's bodies. He could lift a 110kg dumbbell with one arm in the bench press movement. His physical development was so spectacular that he was exhibited at the World Columbian Exposition in 1894 as a muscular-building artist who suggested the grace and form of the ancient statues of Classical Greece.
Sandow nació en la ciudad prusiana de Königsberg en 1867 de padres judíos y se interesó en la forma física cuando visitó Italia cuando era niño. Dejó Prusia, irónicamente para evitar el servicio militar, y viajó mucho, llegando finalmente a Bruselas, donde fue asesorado por el hombre fuerte Ludwig Durlacher, quien actuó bajo el seudónimo de Profesor Atilla. Sandow finalmente llegó a Inglaterra y se casó con una inglesa. En 1889, apareció en el escenario del music-hall británico cuando derrotó a otro extravagante hombre fuerte en un concurso de levantamiento de pesas y rompimiento de cadenas. Su fama se aceleró y recorrió el mundo, pero finalmente se instaló en Inglaterra, donde los grandes y los buenos siguieron sus regímenes de acondicionamiento físico. Incluso se convirtió en instructor físico del rey Jorge V. Curiosamente, Sandow midió las proporciones de las estatuas antiguas y formuló su propio «ideal griego» que intentó aplicar a su propio físico.
Frederick William Pomeroy was a key member of the New Sculpture Movement which revolutionised British sculpture towards the end of the 19th century. British sculpture was fundamentally changed with the arrival of the French artist Jules Dalou in 1871, who taught the art of figurative sculpture to his students. This had a profound impact on Lord Leighton who, in 1877, unveiled his Athlete Wresting with a Python, in which a muscled youth is frozen in a death match with a deadly snake. Sculptors such as Alfred Gilbert, Harry Bates, and of course, Pomeroy sought to capture naturalistic renderings of human anatomy, in contrast to the impressionistic style of their Parisian contemporaries.
Pomeroy’s choice of Sandow as a model should be seen as fitting into this narrative. However, it differs from many of the idealised nudes of Gilbert, Leighton and Bates, in being a contemporary portrait of a distinctly fin-de-siècle phenomenon: the strongman with his barbells. Appropriately, ‘enhanced’ casts of Pomeroy’s Sandow are still awarded to winners of the Mr Olympia competition (International Federation of Bodybuilding and Fitness) to this day. The present cast is a particularly beautiful period example with a rich brown patina in very good condition.
Pomeroy entered the Royal Academy Schools in 1880 and in 1885 won the Gold Medal travelling scholarship. After studying with Marius-Jean-Antonin Mercié in Paris and travelling in Italy, he returned to London and began to exhibit with the Arts and Crafts Exhibition Society (1888). Pomeroy was an exponent of the New Sculpture and like many of his contemporaries he executed ideal figures drawn from mythology and literature showing the twin influences of Renaissance Italy and contemporary France. Typical works include the bronze Dionysius (1890; London, Tate) and Love the Conqueror (1893; Liverpool, Walker A.G.). Numerous strongly modeled monumental works in bronze include Robert Burns (1894; Paisley), Dean Hook (1901; Leeds) and four colossal figures (1905) for Vauxhall Bridge, London. Pomeroy was made ARA in 1907, Master of the Art Workers’ Guild in 1908, a council member of the Royal Society of British Sculptors in 1914 and RA in 1917.
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