JOS DE DECKER · (1912–2000)
Seated Nude
technical sheet
| ARTIST | Jos De Decker |
| DATE | 1955 |
| DIMENSIONS | 36,5 × 45,5 × 18,5 cm |
| MATERIAL | White Carrara marble |
| SIGNED | “Jos De Decker 1955” |
about the work
The sculpture entitled Nus Assis depicts a nude female figure seated in a curled position. The subject rests on a rough base suggestive of a rocky surface or natural plinth, which contrasts with the refinement of the carving itself. The figure is bent forward, her arms wrapped around her legs and her head inclined, partially concealing her face. This introspective and contemplative pose conveys an attitude of reflection, melancholy or quiet withdrawal.
The marble offers a smooth, polished surface that captures light with great softness, drawing attention to the curves of the body and the subtle treatment of the hair and features. The work as a whole is characterised by a notable fluidity of form and a delicacy in the handling of anatomical detail, both of which attest to the artist’s considerable technical command.
The choice of representing a female figure in an introspective posture is a classical theme in sculpture, frequently employed to express universal emotions such as vulnerability, inner beauty or mystery. The simplicity of the composition and the absence of superfluous detail direct attention entirely to the language of the body and the feelings it may evoke.
Literature
- Aimé Stroobants, Jos De Decker, Rotary Club Termonde, 1999.
- Engelen, Cor et Marx, Mieke. La Sculpture en Belgique à partir de 1830. Tome II : Constant-De Vos. Bruxelles, Laconti, 2002, pp. 878-879.
the ARTIST
Jos De Decker
Dendermonde, 1912 – 2000
Jos De Decker was born on September 18, 1912, in Dendermonde, and passed away in 2000. A renowned sculptor and medallist, he inherited his father’s musical abilities from an early age and studied violin at the Dendermonde Academy of Music. He was hired by Cinéma Belgica to accompany silent films as part of an orchestra, but with the rise of talking pictures, his role as a violinist was no longer needed. It was from 1928 onwards that he turned decisively to sculpture, studying under Alfred Courtens.
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