César

Private Collection
Sale: Perrin, Royère, Lajeunesse, 28 May 1989, lot 110
Collection Alain & Candice Fraiberger 

Antibes, Musée Picasso, 1986 (other example)
Marseille, Centre de la Vieille Charité, César, Oeuvres de 1947 à 1993, July - September 1993; catalogue, pp. 108, 140, illustrated (other example) 
Paris, Galerie Nationale du jeu de Paume, César, 10 juin - 19 octobre 1997; catalogue, p. 151 (other example) 
Rabat, Musée Mohammed VI d'Art Moderne et Contemporain, César, une histoire méditerranéenne, December 2015 - March 2016; catalogue, pp. 25, 30, 33, 54, illustrated in colour (other example) 
Another large example in on permanent display at the Place Michel Debré, Paris, since 1985

Catalogue des Salons d'Automne, 1987, illustrated on the cover (other example)
Pierre Restany, César, Paris, 1988, p. 298, illustrated in colour (other example)
La Gazette, 2 June 1989, n.p., no. 22, illustrated
Jean-Charles Hachet, César ou la Métamorphose d'un Grand Art, 1989, p. 80, n° 165b (other example)
Francis Patent, Ancrages Magazine, juin 1990, no. 2, n.p. (other example)
Exh. cat., H. Lévy, César: Les Bronzes, Sète, Musée Paul-Valéry, 1991, p. 31, 51, illustrated (other example)
Galerie Enrico Navarra, César : Œuvre Monumentales, Paris, 1996, p. 68, illustrated in colour (other example)

The colours are fairly accurate in the printed catalogue illustration, however the overall tonality is lighter in the original work. The printed catalogue illustration does not convey the richness of the patina. Some minor oxidation marks are visible on the torso as well as some very small superficial scratches on the base only visible upon very close inspection. The work is in very good condition.
"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."

César was fascinated by horses and like to remind his students at the Fine Arts School in Paris that the 20^th century was the first non-equestrian century in the history of humanity.

In 1967 when the curator of the Musée Picasso called upon contemporary artists to celebrate the painter of Demoiselles d'Avignon who had passed away three years earlier, César immediately thought of the centaur, the inverted double of the Minotaur that inhabited the work of the Catalan artist.

A hybrid mythological creature, half-man, half-animal, the centaur embodies wild strength, speed, the spirit of conquest. Built of an assemblage of metallic plates, molds and everyday objects molded in bronze, César's version is both powerful and excessively delicate. The artist took particular care over the details of the hands and feet in a way that is reminiscent of classical equestrian sculpture. The face is also intriguing and resembles the artist in its rifts and angles. A mask representing Picasso's face covers it, heightening the impression that this self-portrait is much more obsequious than it seems.

A major piece in César's career that many consider to be one of the masterpieces of the history of statuary, Le Centaure (Hommage à Picasso) is the perfect synthesis between classicism and modernism. Composed of clear cut contours and broken angles, the work breaks with abstraction and employs the most contemporary of materials and techniques. Le Centuare (Hommage à Picasso) is thus a complex work of many meanings and which embodies the singularity of César's artistic approach.  Its eloquence is intensified by its large size that pulls the spectator into an encounter or even a confrontation.

Image:
César and Candice Fraiberger, March 1991 © D.R. © SBJ/ADAGP, Paris 2017