[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-146772-en":3,"doc-seo-146772-105":30,"detail-sidebar-cat-0-en-105":89},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":11,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},146772,34359740700684,"Finn","https://ap-avatar.wpscdn.com/avatar/1f400023980c374ae676?_k=1777273430885731487",2,"Literature","A Dancing Maenad with a Sacrificial Lamb","A Dancing Maenad with a Sacrificial Lamb records Johan Tobias Sergel’s red-chalk study, drawn in an oval medallion after an antique relief during his Rome stay (1767–1778). The sheet reworks a bacchantes scene from the Villa Borghese, likely using an etched frieze copy tied to Pietro Santi Bartoli’s Ad miranda Romanarum Antiquitatum. Sergel adapts the ancient figure and changes key details such as drapery and the lamb. The work later belonged to Sergel’s son Johan Gustav Sergel.","Johan Tobias SERGEL (Stockholm 1740-Stockholm 1814)  \nA Dancing Maenad with a Sacrificial Lamb  \nRed chalk, within a drawn oval.  \n173 x 163 mm. (6 3/4 x 6 3/8 in.) [image]  \n202 x 183 mm. (8 x 7 1/4 in.) [sheet]  \nThis study after an antique relief was drawn by Johan Tobias Sergel during his stay in Rome , between 1767 and 1778. The artist has here copied part of an ancient relief of bacchantes at the Villa Borghese , possibly working from an etched copy of the frieze by the printmaker Pietro Santi Bartoli , executed as part of Bartoli’s Ad miranda Romanarum Antiquitatum (The Wonders of Ancient Rome), published in 1693. Sergel has transposed the figure into an oval medallion format, and has altered some details of  \nthe frieze , notably the drapery and the lamb.  \nAs has been noted of Sergel’s time in Italy, ‘ It was Rome that set the genius of Sergel free…It is easy to understand why a young artist from a country, not abundant in art, should be overwhelmed by the art treasures of Rome – Classical, Mediaeval, Renaissance and Baroque – and bewildered by the different messages of the periods of style. But Sergel did not lose heart – for that his nature was too healthy…he embarked upon profound and methodical studies in museums and churches, adopting the plan of training which was then in use at the French Academy, which Sergel frequented as a guest, like so many other non-French artists. For close upon three years he drew and modelled from works belonging to old and recent times. Both Raphael and Michelangelo , the Carracci and Bernini interested him alongside of the Greek and Hellenistic artists, whose works were to be seen in the Vatican and other museums, mostly in Roman copies, but occasionally in originals.’  \nThe present sheet belonged to the artist’s son, Johan Gustav Sergel (1792-1858) . Although his father had hoped he would follow in his footsteps and become an artist, and gave him drawing lessons, Johan Gustav seems to have preferred farming , and eventually settled at Spånga säteriin Ä rlain Södermanland , on the southeast coast of Sweden.  \nLiterature:  \nRagnar Josephson, Sergels Fantasi , Stockholm, 1956 , Vol. I, p.63 , fig.55.  \nArtist description:  \nJohan Tobias Sergel was, like his younger contemporaries Antonio Canova , Bertel Thorvaldsen and John Flaxman, also a talented and prolific draughtsman. In 1756 he entered the studio of Pierre Hubert L’Archevêque , then the foremost sculptor in Sweden. His apprenticeship with L’Archevêque lasted about ten years, during which time he became the French sculptor's chief assistant. In 1767 , at the age of twenty-seven, Sergel arrived in Rome on a royal stipend. He remained in Italy for eleven years, eventually moving away from the decorative Rococo style of his training with L’Archevêque in favour of anascent Neoclassicism. In Rome Sergel become friendly with the Swiss painter Johann Heinrich Fuseli , and earned a number of important sculptural commissions that brought him great renown. Among his most famous Roman works was a Reclining Faun, executed around 1770 , which was greatly admired and of which a version was acquired for the Swedish Royal collection. He enjoyed the patronage and support of several significant connoisseurs, not least Sir William Hamilton in Naples, who described Sergel to the Comte d’Angiviller as ‘ not only the foremost sculptor now working in the whole world but…  \nalso the greatest since the days of Michelangelo.’  \nApart from his sculptures of classical and mythological subjects, Sergel produced a great number of drawings during his time in Italy; studies for sculpture (usually in red chalk, and close in style to the drawings of Edmé Bouchardon), and a far more numerous group of free and expressive pen sketches of figures and scenes from contemporary Roman life , as well as caricatures of fellow artists and friends.  \nSummoned back to Sweden by King Gustav III in 1779 , Sergel found that despite his desire to create monumental works in sculpt","cbCail7LE6MU6K93","https://ap.wps.com/l/cbCail7LE6MU6K93","pdf",47118,4,1,"English","en",105,"# Artwork Description\n## Origin and Sources\n## Medallion Adaptation\n## Provenance and Family","[{\"question\":\"When was Johan Tobias Sergel’s study drawn and where?\",\"answer\":\"It was drawn during Sergel’s stay in Rome between 1767 and 1778, executed in red chalk within a drawn oval.\"},{\"question\":\"What source relief and publication influenced the drawing?\",\"answer\":\"Sergel copied part of an ancient relief of bacchantes at the Villa Borghese, possibly working from an etched copy of the frieze by Pietro Santi Bartoli tied to his 1693 work Ad miranda Romanarum Antiquitatum.\"},{\"question\":\"How did Sergel modify the original composition?\",\"answer\":\"He transposed the figure into an oval medallion format and altered details of the frieze, notably the drapery and the lamb.\"}]","A Dancing Maenad with a Sacrificial Lamb | 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was Johan Tobias Sergel’s study drawn and where?","Question",{"text":73,"@type":74},"It was drawn during Sergel’s stay in Rome between 1767 and 1778, executed in red chalk within a drawn oval.","Answer",{"name":76,"@type":71,"acceptedAnswer":77},"What source relief and publication influenced the drawing?",{"text":78,"@type":74},"Sergel copied part of an ancient relief of bacchantes at the Villa Borghese, possibly working from an etched copy of the frieze by Pietro Santi Bartoli tied to his 1693 work Ad miranda Romanarum Antiquitatum.",{"name":80,"@type":71,"acceptedAnswer":81},"How did Sergel modify the original composition?",{"text":82,"@type":74},"He transposed the figure into an oval medallion format and altered details of the frieze, notably the drapery and the 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