The renowned artist George Minne (1866 – 1941) was a Belgian sculptor who made a name for himself in the non-traditional representation of ‘man’. Most of his works focused on the depiction of disharmony and internal struggles in a man’s life. Until this time, male representation focused mainly on mythological or love themes. The year 1900 to 1914 was the time when sculptors were trying to break away from the old and embrace the new. Like his contemporaries, Minne’s works were representations of modernity and captured the essence of adolescence. George’s iconic works include a series of kneeling youths, of which “The Fountain of the Kneeling Youths” is the most acclaimed sculpture.

It was presented for the first time in 1900, at the Eighth Succession exhibition. First designed in 1898, this work was produced in plaster, bronze, and marble versions. “The Fountain of the Kneeling Youths” features five naked youths gathered in a circle and looking at the fountain in the center. This position of the figures earned it the reputation of the ‘Fountain of Narcissus’. The sculpture of Minne stands out for its slender, angular figures that kneel in perfect balance on their respective raised platforms. These sleek, tall structures bend to the right at the waist. The shoulders and head also bend in the same direction. The straight position of the knees and the midsection of the upper torso counteract the statues’ center of gravity. Additional balance is provided by the lower legs lying flat on their bases. It is not only the balance, but also the simplistic linear composition of the children’s bodies that indicates the geometric efficiency of Minne’s work. The original piece was cast in plaster and the statues were placed on the edge of the fountain. George showed a master stroke by placing such bent and lopsided figures on the rim, with such integrity.

George Minne’s kneeling youths have their arms crossed to the shoulder joints, as if yearning for support and trying to withdraw from the world. Their bowed heads present the youngsters in conflicting thoughts, adding a poignant emotional appeal to the work. What distinguishes Minne’s style of work is the subtle yet powerful expression of the deepest human feelings. Leaving behind the artistically ideal portrayal of youth and vitality, the kneeling youth became protagonists of the challenges of contemporary youth. The force of innovation and refreshing quality of “The Fountain of the Kneeling Youth” is so strong that veteran art critic Julius Meier-Graefe called it “the first sculpture of our new age.”