At the beginning of the exhibition of the Gillion Crowet family you find three masterpieces by the greatest animalier sculptor, Rembrandt Bugatti, creator of a new style at the beginning of the twentieth century. With that name, he was irredeemably fated to become an artist. His brother Ettore set up the Bugatti factory to produce cars that would become real pieces of craftsmanship, but it would later specialize in motorbikes.
Rembrandt worked in Paris (under the protection of count Troubetzkoy, another great sculptor) outside the academic circles and around the “Jardin des Plantes”(the oldest zoo in the world), where he studied incessantly each animal. In 1906 he moved to Antwerp to have access to its zoo, founding the “Anterwep school” of animal sculpture. In contrast to the romantic representation of animals, Rembrandt Bugatti avoided violent scenes such as hunting or animal fights to concentrate on the inner “personality” of each animal, as we can see in the pieces at the Museum.
Although the ostrich, the snake and the secretary bird are all caught in a moment of calm they seem to oscillate between meditation and preparation to react to external factors. The snake is smooth with a muscular body while the feathers of the birds are noticeable without perfect detail. His style is called “sculpture impressionism” to the extent that he prefers the transmission of the power of a trait to its loyal reproduction.