Regularly, I walk past a small statue of Fortuna; I always greet her kindly. We are not superstitious, but with Fortuna—the goddess of fortune, luck—it can never hurt, and you never know...
Luck and misfortune have occupied humanity for centuries. Besides an enormous list of proverbs and sayings about luck (in dutch), this has also given rise to various gods or goddesses. The Greeks had Tyche, the Romans pinned their hopes on Fortuna, and the Japanese are blessed with seven (!) Shichi Fukujin (gods of luck).
Here, we are dealing with the Roman version of fortune, which, in the 19th century, was immortalized in bronze in France with great skill.
What Are We Looking At?
At first glance, the statue leaves little to the imagination. On the pedestal, it is clearly signed by "Moreau-Vauthier (fr)" and bears the year "1878." So, we are still more than 10 years before the heyday of Art Nouveau. Yet, both from the front and the side, the characteristic dynamic composition in the shape of a large "S" is already clearly visible. The female beauty (also typical of Art Nouveau) in flowing garments is clearly in full motion.
Additionally, the name of the famous Parisian "fondeur" (bronze caster) "F. (Ferdinand) Barbedienne" is inscribed on the base.
There is also a "cachet" applied, which states: "réduction mécanique d’Achille Collas." The craftsmanship clearly receives a great deal of attention and thus a place on the statue. More on that later.
However, a plaque or engraving with the title of the statue is missing. But even if the seller hadn't mentioned it, you’d have to be from very far away not to guess! The symbolism practically drips from the statue, and the "Cornucopia" immediately makes it clear that this must be Lady Fortuna.
The statue is also mentioned in "the bronze bible" on p. 518*. It concerns "La Fortune" by Augustin Jean Moreau (1831-1893). He added his mother's surname, Vauthier, to his own to distinguish himself from the Moreau dynasty, which was also highly successful in sculpture at the time. Augustin was still quite trendy, as he created this statue in the "style of youth" (Jugendstil), even as he was approaching 50.
* Reference: "Les bronzes du XIX-ième siècle, Dictionnaire des sculpteurs", Pierre Kjellberg, 1987.
Symbolism
| The horn | The rudder | The wheel | The globe |
The depicted lady has four attributes that symbolize or represent properties of "Fortune":
- With her right hand, she raises the aforementioned overflowing "horn of plenty" high into the air.
- In her left hand, she holds a kind of chip, which turns out to be a rudder.
- She stands on a wheel to which wings are attached.
- The whole is placed on a (world) globe.
What can we learn about these attributes and what they represent? A quick search on the internet yields many sources with the following results.
Fortuna and Her Allegorical Attributes
In allegorical sculpture, Fortuna (or Luck) is the personification of chance, fate, and fortune, often depicted as a capricious, unstable, even blind woman. Her visual attributes are symbols that help us better understand the changeable nature of human fortune.
1 - The Horn of Plenty
The horn of plenty, filled with fruit or riches, is a classic symbol of prosperity and divine generosity. In Fortuna's hands, it shows that she can distribute wealth, success, and luck, but can also take them away without warning.
2 - The Rudder
The rudder is a symbol of direction and guidance. In Fortuna's hands, it means that she steers human events at her own discretion, like a helmsman steering a ship. This evokes the image of uncertain navigation, where fate determines the course without clear logic.
3 - The Wheel
The wheel of fortune symbolizes the cyclical nature of fate. It reminds us that human life is subject to ups and downs: those at the top today may fall tomorrow. This wheel expresses the instability and unpredictability of human existence.
4 - The Globe
The globe, which Fortuna sometimes holds or on which she balances, represents the world or earthly power. It can also symbolize the instability of the world, rolling under Fortuna's feet, demonstrating that nothing is stable under her influence.
There is a fifth attribute, though it was not used or depicted by Augustin Moreau: The Prow.
5 - The Prow of the Ship
The prow reinforces the idea of life's journey, subject to the whims of the sea and wind, which Fortuna embodies. It suggests that human existence is comparable to a fragile ship sailing on the waves of fate that Fortuna controls.
The message is—even without the prow—crystal clear: Fortuna is an unpredictable and capricious lady!
The Craft of Bronze Casting
In Art Nouveau, there is an equal relationship and appreciation for the creative process of the artist and the craftsmanship involved in the final execution of the work. The idea of reproducing the original artwork to make it cheaper and thus more accessible to more people is also a new concept of this movement. Of course, the fact that good money can be made from this is no side issue.
Bronze casting is a method of reproduction that developed strongly in the 19th century, both industrially and artisanally.
And because the bronze caster and the process of "réduction mécanique" are so clearly mentioned on this statue, I also became curious about how the statue came to be. And that turns out to be much more complicated than I had thought.
- Creating the original
- Creating the rough reproduction
- Finishing touches
The design and creation of the original are done by the sculptor (and their assistants). The original can be made of stone (marble, alabaster), but also of less durable materials such as plaster, clay, or wood. For clarity: directly creating a statue in bronze (sawing, chiseling, grinding, filing...) is virtually impossible! A bronze statue is therefore always a reproduction! For example, the original of our Fortuna, carved in marble, is in the Musée d'Orsay in Paris.
After the artist has delivered their creation, the craftsmanship begins. Here is a brief summary of the steps according to the "cire perdue" (beeswax!) method:
- Creating a removable mold of clay or plaster around the original
- Applying a layer of beeswax to the inside of the mold after the original has been removed
- Further filling the inside with, for example, plaster or sand (the "core")
- Removing the outer mold again (and preserving it for the next reproduction)
- Touching up the wax and adding small details
- Attaching wax "pouring spouts" to the beeswax copy (and plaster)
- Wrapping the copy (with pouring spouts) entirely in plaster again
- Melting the thin layer of beeswax from the statue (and the pouring spouts) and letting it drain away
- Filling the resulting hollow space through the pouring spouts with molten bronze
- After cooling, removing the plaster exterior and the core
Are you still following? Now you have a rough (hollow) bronze reproduction of the original, but the work isn’t finished yet! The finishing is at least as important and requires its own craftsmanship. The finishing consists of:
- Removing (sawing, grinding, filing) the pouring spouts and surface irregularities
- Chiseling the surface to add texture and details
- Gilding or patinating the surface to provide shine and/or color
Finally, we’re done and have a reproduction... And... this is the abbreviated version of the process! I’ve spared you the details of the mentioned "réduction mécanique," used to first create a true-to-life but smaller copy of the sculptor’s (large) original! Not to mention statues that can’t be cast in one go and whose parts must still be "welded" together afterward... (see middle photo below)
| Very fine chiseling (detailing) of fingers and ornaments | Almost invisible weld seam in the arm | Two colors: brown patina with gilded details |
Considering all this, I think that the aforementioned Ferdinand Barbedienne (the "fondeur," bronze caster) has earned his name on the statue and his place in history.
Conclusion: Long Live "Arts & Crafts"!
In English, one speaks of the "Arts & Crafts" movement instead of "Art Nouveau"; the "Craft" stands on equal footing with "Art." I think this aspect of Art Nouveau is beautifully realized in this bronze statue of Fortuna: Augustin Moreau’s dynamic design, based on ancient ideas and symbols, brilliantly executed in bronze by Ferdinand Barbedienne (with help from Collas, posthumously).
The idea, the design, and the execution are all necessary to create a work of art. I believe that the collaboration between art and craftsmanship also contributes to the fortune (both in money and luck) of everyone involved. But perhaps these are romantic ideals and dreams of an old man...
Actually, the blog ends here, but below are a few extras for those who still haven’t had enough!
Further Reading
This video explains the bronze casting process in under 5 minutes. The finishing process is not covered.
A more extensive video:
Bonus: Proverbs & Sayings
Luck (or misfortune) lurks in a small corner;
- You never know how it might unexpectedly favor us.
One man’s luck is another man’s misfortune
- The progress of one often means the decline of another.
Fortune rarely dwells under gilded ceilings
- Wealth is not always a guarantee of happiness.
Fortune does not stand still at anyone’s door
- One must seize a favorable opportunity.
Shards bring luck
- After misfortune, prosperity usually follows.
No misfortune is so great that there isn’t some good in it –
** Everything has a good side. Cf. Pliny the Elder, Historia Naturalis (27, 3: 9), ‘Malum nullum est sine aliquo bono.’
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