Affortunato Gory

AFFORTUNATO GORY (Florence, active ca. 1895–1925)
“Oriental Dancer,” ca. 1915–1920.
White Carrara marble and gilded bronze.
Signed “A. Gory.”
Measurements: 93 x 31 x 31 cm; 23 x 23 cm (base)

Large in scale and extraordinarily ornate, “Oriental Dancer” encapsulates some of the most characteristic features of Affortunato Gory’s work: the idealization of the female figure, an Orientalist sensibility, and the combination of materials that create a striking, sumptuous effect. The work, created around 1915–1920, marks the transition toward the Art Deco style, when the exoticism inherited from the fin de siècle evolved into an increasingly sophisticated and decorative aesthetic.
The figure is captured in mid-motion, balanced on the tip of one foot as she raises one arm in a pronounced upward gesture. Gory constructs the composition through a marked verticality that is a hallmark of the composition, contrasting with the undulating movement of the long stole, rendered in gilded bronze as an almost flaming form that envelops and extends the silhouette. The rich attire, also gilded, features embroidery, jewelry, appliqués, and Oriental-inspired ornaments, while the face, arms, torso, and foot—carved from white Carrara marble—lend serenity and luminosity to the ensemble. The contrast between the polished whiteness of the marble and the vibrant surface of the gilded metal constitutes one of the sculpture’s principal visual effects.

The theme of the oriental dancer enjoyed extraordinary popularity in European visual culture during the early decades of the 20th century, fueled by theater, dance, and the West’s fascination with settings and costumes considered exotic. This work can be linked to the imagery of Salome and highlights the similarities between her elaborate costume and that worn by the famous dancer Maud Allan in her portrayals of the character; we have included reproductions of two historical photographs of Allan dressed as Salome that illustrate this iconographic resemblance.

Born in Florence, Affortunato Gory trained at the Accademia di Belle Arti under the guidance of the sculptor Augusto Rivalta and, like many Italian artists of his generation, later moved to Paris. There he spent much of his career and regularly participated in the Salon des Artistes Français, where in 1904 he presented, among other works, the bronze and marble bust *Iris*, continuing to exhibit at the Salon until 1923. His work focused on elegant female figures and Orientalist subjects, characterized by the combined use of gilded or patinated bronze with stone materials—a technique particularly suited to the decorative refinement that distinguishes his work. Some of his works were cast by the prestigious Parisian foundry Les Neveux de J. Lehmann, which was also associated with leading sculptors in decorative sculpture of the period.

Reference Bibliography:
P. Kjellberg, *Bronzes of the 19th Century*, Schiffer Publishing, 1994, p. 364.
A. Panzetta, *Nuovo Dizionario degli Scultori Italiani dell’Ottocento e del primo Novecento*, 3rd ed., Umberto Allemandi & C., 2003, vol. I, pp. 441 and 488.