What is it about?
In the early-twentieth century, Gilbert Bayes sculpted many male knights on horseback. The work are discussed in relation to debates about masculinity, particularly the importance of physical strength and gentlemanly behaviour in the years leading up to the First World War. The armour in Bayes's knights on horseback is compared to new technological developments in protective clothing made by brands such as Burberry and Aquascutum.
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Why is it important?
This paper presents the first detailed examination of Bayes's Sigurd (1909-10) statuettes. Earlier scholarly attention has focused on his larger scale and architectural works. Considering the costume and dress represented in detail in sculpture is a new approach to studying sculpture of this period.
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This page is a summary of: The Good Soldier: Gilbert Bayes and the Chivalric Statuette, Nineteenth Century Contexts, August 2014, Taylor & Francis,
DOI: 10.1080/08905495.2014.954418.
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Resources
Gilbert Bayes's work in the Tate Collection
The Gilbert Bayes Sculpture Gallery at the Victoria and Albert Museum
This gallery is devoted to the making of sculpture. It charts the creative process from the first idea through all the intermediate stages to the finished object. The pieces have been selected to illustrate the rich diversity of materials and wide variety of techniques that sculptors have used. They are mainly small in scale and range from early medieval ivories to modern bronzes.
Gilbert Bayes: Mapping the Practice and Profession of Sculpture
The Mapping Sculpture database is the outcome of a major three-year research programme. It delivers the results of the first comprehensive study of sculpture between the Great Exhibition of 1851, and the Festival of Britain in 1951.
Gilbert Bayes - Oxford Dictionary of National Biography
Gilbert Bayes, Sigurd, 1910, bronze. Tate, London.
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