Écorché in the context of "Nude (art)"

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⭐ Core Definition: Écorché

An écorché (French pronunciation: [ekɔʁʃe] ) is a figure drawn, painted, or sculpted showing the muscles of the body without skin, normally as a figure study for another work or as an exercise for a student artist. The architect and Renaissance man Leon Battista Alberti recommended that when painters intend to depict a nude, they should first arrange the muscles and bones, then depict the overlying skin.

Some of the first well known studies of this kind were performed by Leonardo da Vinci, who dissected cadavers and created detailed drawings of them. However, there are some accounts of this same practice taking place as far back as ancient Greece, though the specifics are not known.

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Écorché in the context of Cadaver Tomb of René of Chalon

The Cadaver Tomb of René of Chalon (French: Transi de René de Chalon, also known as the Memorial to the Heart of René de Chalon or The Skeleton) is a late Gothic period cadaver monument (transi) in the church of Saint-Étienne at Bar-le-Duc, in northeastern France. It consists of an altarpiece and a limestone statue of a putrefied and skinless corpse which stands upright and extends his left hand outwards. Completed sometime between 1544 and 1557, the majority of its construction is attributed to the French sculptor Ligier Richier. Other elements, including the coat of arms and funerary drapery, were added in the 16th and 18th centuries respectively.

The tomb dates from a period of societal anxiety over death, as plague, war and religious conflicts ravaged Europe. It was commissioned as the resting place of René of Chalon, Prince of Orange, son-in-law of Duke Antoine of Lorraine. René died at the age of 25 during the siege of St. Dizier on 15 July 1544, from a wound sustained in battle the previous day. Richier presents him as an écorché, with his skin and muscles decayed, leaving him reduced to a skeleton. This fulfilled his alleged deathbed wish, that his tomb depict his body as it would be three years after his death. His left arm is raised as if gesturing towards heaven. At one point, his heart was supposedly held in a reliquary, placed in the hand of the figure's raised arm. Unusually for contemporaneous objects of this type, his skeleton is standing, making it a "living corpse", an innovation that was to become highly influential. The tomb effigy is positioned above the carved marble and limestone altarpiece.

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