As a curator, in museum Beelden aan Zee, I exhibited the Gorille enlevant une Femme, by Emmanuel Fremiet dated 1887, in an exhibition of French and Belgian animal sculptors in 2011. The... Show moreAs a curator, in museum Beelden aan Zee, I exhibited the Gorille enlevant une Femme, by Emmanuel Fremiet dated 1887, in an exhibition of French and Belgian animal sculptors in 2011. The confrontation with, and my great surprise about this sculpture (a gorilla abducting a woman) led to this research. Just imagine: you walk into a living room in an appartment on the Boulevard des Capucines in Paris around 1890, and on a side table, one discovers a bronze sculpture: a gorilla abducting a woman. Such a sculpture does not suit our sense of taste. I suspected that this sculpture would represent more than just 'a curious piece of kitsch'. The resulting research in my dissertation led to many things: it turned out that the artist was world-famous in his time, it turned out that the gorilla had only been discovered in 1847, and it turned out that a few more gorilla sculptures had been made by Fremiet, the first as early as 1859. Furthermore, I discuss the entrance of the gorilla into zoology, the theme of the abduction of women in art and the use of the image for nationalistic and anti-Semitic purposes. The relevance of this research lies in the use of all kinds of other disciplines, which results in a new art-historical image of nineteenth century art and sculpture. The study also addresses nineteenth century issues: colonialism, the poor position of women, antisemitism, nationalism and our relationship to the animal kingdom are related to technical and iconographical interpretations of the Fremiet gorillas. Show less
