Louis-Ernest Barrias French, 1841-1905

Overall the condition of the bronze is very good with minor wear to the patina consistent with age. There are some small areas of greening to the patina and at the top of the head there is a small graze to the surface and two slightly visible casting pins. There are some spots of white paint to the base.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Barrias exhibited the model of La Nature mysterieuse et voile se decouvre devant la Science in white marble at the salon of 1893. This first version of La Nature was entirely nude apart from the veil which hung over her head and fell to her feet at her back. Suitably, given its title, the marble was purchased by the Medical Faculty of Bordeaux. Barrias exhibited the model again in 1899 partly clothed, like the present model, and fashioned out of coloured stones, fitting into the vogue for chryselephantine sculpture. The contemporary allegory of the title reflects its modernity and thinly disguises the essence of the composition: a beautiful woman undressing.

La Nature was edited by the Susse foundry who retained the multi-material and colouration approach which Barrais had himself experimented with in the model. In the present example the bronze is carefully patinated with a varied colour to distinguish the different elements of skin and drapery. The deeply charged mood is reflected in many Symbolist paintings, while the general treatment relates to the emerging Art Nouveau.

An over-life-size marble of the first version was purchased by Carl Jacobsen for his 'Barrias Room' at the Carlsberg Glyptotek.

RELATED LITERATURE
Romantics to Rodin, p.118-120, no.10; The Colour of Sculpture, pp.185-6, no.58; Carlsberg Glyptotek, no. 12, pp. 56-57