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Uhan SergelSwedish sculptor.
Country:
 Sweden |
Content:
- Origin and Early Life
- Artistic Beginnings and Early Success
- Italian Journey and Artistic Transformation
- Royal Patronage and Return to Sweden
- Artistic Output and Personal Struggles
- Legacy and Later Years
Origin and Early Life
Johan Tobias Sergel, a renowned Swedish sculptor, was born on August 28th in Stockholm to court engraver Christopher Sergel. From the age of 16, he worked in his father's workshop while simultaneously taking drawing lessons from Johan Erik Reh and sculpture and modeling instruction from Adrien Masreliez.
Artistic Beginnings and Early Success
Under the guidance of French sculptor Pierre Hubert Larcheravek, Sergel quickly excelled in the art of sculpting. In 1758, as a student at the Academy, he was awarded the "Second Annual Prize" and accompanied his mentor to Paris. There, he spent three months studying at the French Academy.
Upon their return, Sergel collaborated with Larcheravek for approximately four years on the sculptural decoration of Stockholm Palace's main hall. During this period, he received his first silver medal from the Academy, was appointed as a sculptor, and secured an independent position in the palace's construction. He also began creating portrait medallions and reliefs.
Italian Journey and Artistic Transformation
Sergel's artistic destiny took a significant turn with his state-funded trip to Italy in 1767. In Rome, he was captivated by the classical antiquities and Renaissance masterpieces, which inspired him to pursue a more pronounced classical style.
He studied at the French Academy in Rome from 1771 to 1775, befriending English artist Henry Fuseli and Danish painter Nicolai Abildgaard. His creative genius flourished, resulting in classical compositions such as "Jupiter and Juno," "Venus and Anchises," and "Europa and the Bull." His "Faun" (1774) brought him his first major acclaim.
Royal Patronage and Return to Sweden
In 1778, King Gustav III summoned Sergel back from Rome, appointing him as court sculptor. He returned via Paris, where he was elected a member of the Academy, and London. Sergel, now a member of the Royal Academy of Arts and Sculpture, became a professor of drawing in 1790 and a knight of the Order of Vasa two years later.
Artistic Output and Personal Struggles
Despite his official duties, Sergel found solace in the art of drawing. His prolific sketches, executed in various media, revealed his keen intellect, erudite knowledge, and freedom of expression. He also engaged in personal relationships, including his non-marital union with Anna Rella Helström, who bore him two children.
However, Sergel's life took a turn following the death of King Gustav III in 1792. Without his primary patron, he struggled with depression and personal crises. His artwork during this period reflected his inner turmoil, featuring grotesque imagery and self-analysis.
Legacy and Later Years
Sergel's health and artistic output gradually improved with the support of friends. He resumed sculpting and created the bust of Gustav IV Adolf, along with numerous portraits. Recognized as a distinguished artist in Germany, he attracted the attention of Goethe.
Appointed as director of the Academy of Arts in 1810, Sergel's final surge of inspiration came with the encounter with the new heir to the Swedish throne, Carl Johan. Yet, the artist's frail health succumbed to his official responsibilities. He passed away on February 26, 1814.
Johan Tobias Sergel's legacy as a master sculptor continues to be celebrated today. His innovative approach and synthesis of classical and introspective elements have secured his place as one of the pioneers of Western European neoclassicism.
