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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Dec 3, 2018 | Artcurial | Paris | Impressionist & Modern Art 1 | 4 | $****** - ****** | Young Woman or Woman's Chest or Little Nude |
sculpture
28.5 cm (11.22 in)
Terracotta
which made the mark of the foot sculptures of their author
Sale Paris, Charpentier Gallery, April 4, 1957, No. 91bis, (titled Young Woman)
Saint-Germain-en-Laye, municipal museum, Since Rodin, November 1969 - January 1970, n ° 119
Traveling exhibition, Berlin, Georg-Kolbe-Museum, Lausanne, Cantonal Museum of Fine Arts, Bremen,
Gerhard Marks-Haus, Mannheim, Städtische Kunsthalle, Aristide Maillol, January 1996 - March 1997, No. 24 p.187, reproduced in black and white p.56
Terracotta
Height: 28.5 cm
This terracotta study contains a precious and rare testimony to the artistic and artistic development of Aristide Maillol's sculpted work. We could say that this is a historical document on the making of his work. This piece, voluntarily left in the process of completion, tells the story of research on the idea of a renewal, a questioning of sculpture, at the dawn of the twentieth century, in the following as much as in the demarcation of the inheritance of the great Rodin: the work in work, therefore incomplete, fragmentary, can be equivalent to the status of finished work.
We easily recognize the slight undulation of the vertical line, structuring the female body, which made the mark of the foot sculptures of their author, from its infancy in the 1890s to the time of maturity. Point of movement, barely the outline of a sinuosity to register the living. The young woman, column-caryatide whose head would constitute the capital, refers to the famous Tanagras, these primitive Greek sculptures very popular in the late nineteenth century. The torso, favorite part of the sculptor, is the barrel, the basic frame. The head evokes these other statuettes of Maillol of the years 1895 and that he named Nabi nu and Nabi dressed. "This is the means I used to execute many of my great figures, and I set them up like a pottery, keeping the inner hollow without any reinforcement" (Judith Cladel, 1937, 15).
Terracotta, bronze, or lead, the statues of Maillol are known for the suavity of their polished surface to the extreme. But here, the "gross", the roughness dominate the lower part of the body. The legs are barely drawn, the earthen balls barely spread by the fingers of the artist whose fingerprints they keep. Our eyes can follow the gestures of the hand in the process of inscribing its idea in the matter. As a result, it is difficult to say whether he foresaw a definite figure naked or dressed in a dress or wrapped in a "wet drape", these cloths glued to the body that show nudity, sometimes even underline it. (Flore draped, 1910). It does not remain about it less that it carries the mixed grace of balance, characteristics of the works of the sculptor. "We forget too much that the human body is an architecture, but alive ..." (Cladel, 82)
