Gloria Victis ("glory to the vanquished") is a sculpture by Antonin Mercié . Many casts, with different finishes, exist of the group. That pictured here is seen at the National Gallery of Art in Washington DC . Another example of the statue can be found in Bordeaux , France , where it faces Saint André's Cathedral . One is found, for example, at the Ny Carlsberg Glyptotek , Copenhagen, Denmark, where the statue overlooks the museum's Winter Garden. Mercié designed this sculpture following France 's defeat in the Franco-Prussian War . He intended to honor those French soldiers who had fallen in the conflict, especially his friend, the artist Henri Regnault (1843–1871). Upon France's defeat, Mercié changed the hero's head from lifted to fallen.
4-569: Gloria Victis may refer to: Gloria Victis (sculpture) , by Antonin Mercié Gloria Victis (novella) , by Eliza Orzeszkowa Gloria Victis Memorial , Budapest, Hungary memorial Gloria Victis (Confederate monument) , or Fame , a Confederate monument in Salisbury, North Carolina Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
8-461: A dying French hero, his broken sword a sign of defeat. Mercié's original plaster sculpture won a medal at the 1874 Paris Salon . Bronze copies were cast in different sizes by the great foundry of Ferdinand Barbedienne . Its uplifting reassurance that those defeated were nevertheless cared for and granted immortality made this work well received among the French public, who felt humiliated after losing
12-544: The title Gloria Victis . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Gloria_Victis&oldid=1047838411 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Gloria Victis (sculpture) A winged female allegorical image of Fame (or of Hope) carries to glory
16-409: The war. Despite its acclaim, the work was harshly criticized by fellow French sculptor Jean Baffier for its neoclassical style and for its celebration of a defeat: "We have been beaten like wheat in a barn, and we shouted: 'Glory to the losers' – And along comes some sort of bastard artist, the pupil of a sexless school, to put up the image of our cowardice." Mercié returned to this formula of
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