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Pieter De Vigne

Milon of Croton at The Palace of Versailles, France

Milon of Croton at The Palace of Versailles, France

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Milo was a Greek athlete several times champion of the Olympic and Pythian games. As an old man, he wished to test his vigor by splitting a tree trunk that he found already cleft. His hand remained caught in the stump and he was devoured by wolves. Puget replaced these animals with the nobler figure of a lion and created a composition imbued with baroque passion and drama. Milo's body is writhing in pain and his flesh appears to be shuddering under the chisel's touch. Colbert having granted Pierre Puget the right to carve three blocks of Carrara marble that had been left unused in the port of Toulon, the sculptor - born in Marseilles and trained in baroque Italy - began his Milo of Croton in 1671, completing it only in 1682.The theme, foreign to sculpture until then, is not only a meditation on the victory of time over strength, but also on man's pride. Milo is vanquished above all by his vanity and his denial of the weakness attendant to his age. His pain is as much moral as physical. Human glory is ephemeral, as signified by the symbol of the cup won at the Games and now lying on the ground, a worthless object.It is rather puzzling that Puget selected such a subject for a work destined to the king. He was to manifest the same audacity again with his bas-relief ofAlexander and Diogenes, also in the Louvre. Although each side of the sculpture was treated with equal virtuosity, Puget did nevertheless favor the frontal angle. The work is meant to be seen either facing the spectator or in a three-quarter view. Milo's writhing, aching body is an immense zigzag: a succession of three diagonals decreasing in size, culminating with his head thrown back in a cry of agony.The body is arched against the tree trunk that forms the axis around which the composition pivots. In the center, two large openings were cut into the marble in order to detach the athlete's silhouette from the background. This hollowing-out of the base is a rare occurrence in sculpture and represents a technical feat. Puget certainly had in mind the Hellenistic group of Laokoon, a sculpture in the pope's collections, which to the artists of the time epitomized the image of heroic pain. In this piece, the Great Priest of Troy, a very old man, dies a stoic death, strangled by the snake sent by the gods. Puget, however, decided to create a modern piece. He did not idealize the representation of the hero and substituted the violent expression of suffering for the serenity of the Ancients

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To create a plastic sculpture reproduction, we use 3D printing technology. The first step is to print a plastic version of the original sculpture using a 3D printer. After 3D printing, we process the plastic sculpture by hand, which includes sanding, smoothing, filling any gaps or imperfections, and covering the sculptures with a special material to ensure durability for outdoor use. Our goal is to create a high-quality replica that faithfully reproduces the original sculpture. Once the plastic sculpture has been sanded and smoothed, we paint it by hand using high-quality paint in plaster, marble, bronze, and other colors to achieve a durable finish.

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Creating reproductions of sculptures requires great skill and attention to detail. Regardless of whether we use 3D printing technology or traditional casting methods, our goal is always the same: to create a high-quality replica of the original sculpture that accurately reflects the artist's vision. With the use of environmentally friendly materials and an emphasis on manual work, we ensure that our reproductions are of the highest quality.

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Sculptures up to 18 inches in size take 2 to 3 weeks to produce. We do not have mass production, as each sculpture is handmade by our craftsmen, making each sculpture unique. Sculptures larger than 18 inches require different lead times, depending on the size and complexity of the sculpture and its coating. Our managers will let you know the lead time for custom orders.

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