The figurine of porcelain of ballerinas of ballet, have been since the beginning of Lladró, a subject of special attention, being a subject very pleased to the public.
It is a type of porcelain that often seems exclusive to decorate the room of a young lady, but still remain, it may well appear, just as in the decoration of any family room where the family meets.
These ballerinas are admirably suited to any decoration, depending on the art they practice, to reproduce positions in the porcelain, which is a real challenge for the artista, is to capture this positions.
This grace in the movements and attitudes, so typical of a ballerina, were as a test of strength. The artist had to fix the attitude, the gesture, but the movement could only insinuate on porcelain to give the feel of it.
And that’s something fully achieved, not only in porcelain figurines that represent dancing, but even in one sitting, which certainly gives the impression that just do right then, or even more, which He has not finished yet and they do is accommodating the position of the legs and looking with her hands in her lap to support them in it.
With singular importance, the ballerina dress running a difficult step on the toes: the tutu, which seems to open as a wavy flower petals, presents a series of drafts that are a true marvel of craftsmanship, a prodigy and a display that were very common in the production of porcelain figurines of the early days of the company Lladró.
Following the completion of these ballerines, Lladró took the decision to extend the human figurines, including religious, making them longer and thereby giving them a new dimensión, absolutely away from any hint of vulgarity.
The porcelain figurine ballerina of the photo, that tyes his shoe, through support for the foot on a stool, is irrefutable proof of what I commented; that leg outstretched arms stretched and those are worthy of a goddess of pagan antiquity.
This Lladro porcelain figurine of the ballerina, who gives his final touches to her footwear is arranged geometrically so that her body, arms, leg resting on the ground and an imaginary line joining the two shoes, will be almost perfect square and the leg whose foot is putting on off-diagonal. The straight lines formed by the floor and the top of the screen, perfectly horizontal, contribute to accentuate the dynamism of the action.