Infant Henry IV in The Palais des Beaux-Arts in Lille, France

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The plaster model for this statue of young King Henry IV of France was unveiled at the Salon in 1822. With this work, neoclassical sculptor Bosio ventured into the realm of troubadour art - an intimate and anecdotal approach to history that seeks to captivate the viewer's emotions. The charm of the statue lies in its perfect balance between youthfulness and gravity. This piece was extremely popular throughout the 19th century. The prince, about ten years old, stands proudly, his left hand grasping the pommel of his sword (broken and stolen in 1881), while his right hand hangs loosely by his side. He exudes a charming mix of youthfulness and seriousness. This statue embodies Bourbon propaganda under the Restoration: the Bourbons leveraged their glorious past and the emotional appeal of Henry IV (founder of the dynasty) to enhance their public image. Bosio was a favorite at court, regardless of the regime; he served as portraitist to the imperial family under Napoleon I and court sculptor under Louis XVIII, before being granted the title of baron by Charles X. Bosio was a master neoclassical sculptor who worked in the great tradition of Canova; this statue stands out as an early and successful example of the Troubadour style, which influenced painting from the very start of the 19th century but had a slightly later impact on sculpture. The precision of costume and accessories is characteristic of the Troubadour style, which views history through an intimate, anecdotal lens, aiming to move the spectator (unlike neoclassical art, which seeks to educate). The portrayal of kings as children provides a touching contrast between the innocence of their state and the gravity of their destiny. Bosio was probably inspired by a 16th-century portrait of Henry IV at the age of four (Château de Versailles) by François Bunel (1522-1599), court painter to the kings of Navarre. Although the artist respected the antique tradition here by giving the sculpture a calm, impassive, and impersonal appearance, he also infused it with an undeniable freshness that made the work so successful. Bosio received a commission for two marble statues: one for the king's residence (Château de Versailles) and the other for the Château de Pau (birthplace of Henry IV). The silver statue in the Louvre was installed (unfinished) in the study of Louis XVIII on August 25, 1824, to commemorate the king's name day. Bosio obtained the privilege of creating twelve bronze casts. The statuette was copied in various materials throughout the 19th century (there is a brightly colored version made from glazed terracotta by Alfred Brault in the Château de Pau). Barbedienne produced many smaller replicas, making the work accessible to a wider public. This object is part of "Scan The World", a non-profit initiative introduced by MyMiniFactory. Through this effort, we are creating a digital archive of fully 3D printable sculptures, artworks, and landmarks from across the globe for the public to access for free. Scan The World is an open-source community effort; if you have interesting items around you and would like to contribute, email stw@myminifactory.com to learn how you can help.