The image, simply titled "Hermes Hacia 1879," a gelatin/collodion print on photographic paper measuring 332 x 252 mm, presents a fascinating paradox. It's a 19th-century photographic reproduction, likely a studio piece, of a classical sculpture, specifically a representation of Hermes, possibly inspired by or directly referencing the famed Farnese Hermes. This seemingly straightforward photograph opens a window into a complex interplay between ancient art, its subsequent reinterpretations, and the burgeoning medium of photography's role in disseminating and re-contextualizing classical imagery. The unexhibited nature of the piece only adds to its intrigue, hinting at a story yet to be fully uncovered.
The photograph's title, "Hermes Hacia 1879" ("Hermes Towards 1879"), suggests a date of creation around or slightly before that year. This period marks a crucial moment in the history of art photography. The collodion process, used in this image, was becoming increasingly refined, allowing for greater detail and tonal range than earlier photographic techniques. The choice of gelatin-silver printing further indicates a commitment to quality and a desire for a certain permanence, reflecting the growing respect for photography as a serious artistic medium. The image's dimensions also suggest a deliberate framing, intended to present the subject with a specific emphasis and aesthetic impact.
The subject itself, Hermes, is a figure rich in mythological and artistic significance. Hermes, the messenger god of the Olympian pantheon, is a multifaceted character embodying swiftness, cunning, commerce, and thievery. His iconography is equally diverse, ranging from the youthful, athletic figure often depicted in classical sculptures to the more mature, bearded representations found in later art. The "Hermes Hacia 1879" photograph, however, appears to lean towards the former, hinting at a possible connection to the idealized youthful forms prevalent in Neoclassical art.
The reference to the "Hermes Andros Farnese pintura" and the search for "Hermes Andros Farnese imagenes" points towards a likely inspiration: the Farnese Hermes, a Roman marble statue of the god. While not a definitive identification without access to the photograph itself, the connection is highly probable. The Farnese Hermes, though significantly damaged over the centuries, retains a powerful presence. Its pose, often described as dynamic and poised, has captivated artists and viewers for millennia. The search for “la herma original” underscores the desire to understand the photograph's lineage and identify the specific sculpture or artistic interpretation that served as its model. The original sculpture, or at least a high-quality cast or reproduction thereof, must have been accessible to the photographer in order to create such a detailed image.
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