Lot 52
  • 52

Alfredo Pina

Estimate
18,000 - 25,000 GBP
bidding is closed

Description

  • Alfredo Pina
  • Reveil à la Nature (The awakening of Nature)
  • signed: A. Pina
  • white marble
  • 64 by 62cm., 25 1/8  by 24 3/8 in.

Provenance

Sotheby's London, 15 November 2005, lot 111

Catalogue Note

Having attended the Accademia di Brera in his native Milan, Pina moved to Paris around 1906 and first exhibited at the Salon in 1912. On arrival in Paris, the young Italian immediately felt the impact of Auguste Rodin's powerful style. Pina even worked in Rodin's atelier from 1909-10. In particular, he was certainly influenced by Rodin's turmoiled Gates of Hell (1880 - circa 1900).

The Museum Europeu d'Art Modern, Barcelona (MEAM)

The Museu Europeu d’Art Modern (European Museum of Modern Art) is one of Barcelona’s hidden gems, situated in an elegant 18th-century palace in the heart of the city’s old town, El Born. Founded for the promotion of 20th and 21st-century figurative sculpture and painting, the museum houses an outstanding and growing collection of contemporary art. Each year it hosts the Figurativas Painting and Sculpture Awards, which brings together representations of the human form by contemporary artists from across the globe.

The following lots are a carefully curated selection of highlights from the Museum’s collection of 19thand 20th-century sculpture. It begins with a series of elegant classicising and Romantic marbles, led by Émmanuel Hannaux’s magisterial Le poète et la sirène (lot 34). These works evidence the belle époque fascination with the idealised human form, combined with wistful and exotic subjects. Affortunato Gori’s sumptuous Oriental Dancer (lot 37) highlights the fin de siècle taste for Orientalist subjects, reflecting major literary works from the time, notably Oscar Wilde’s Salome (1906). Historicism is represented in the very rare and dramatic original terracotta Monument to Beethoven by Théodore Rivière (lot 48).

The divergent movement towards a modernist aesthetic is witnessed in George Minne’s beautifully carved Le petit blesse II (lot 59) which represents the Symbolist desire to depict inner emotions in plastic form. Several works within the sale were created by artists like Minne, who were heavily influenced or trained by Auguste Rodin. The most striking of these is Louis Dejean’s column of swirling and twisting bodies (lot 82), which recalls Rodin’s Gates of Hell. A more classicising modernist aesthetic is seen in Fritz Klimsch’s elegant rendering of Frühling (Spring) (lot 63). This is complemented by Raymond Delamarre’s strong Art Deco David (lot 55), and his totemic torso LaBolognaise (lot 70). However, perhaps the most beautiful of the Art Deco sculptures is the Nude Girl by Jaume Otero i Camps (lot 40), a Catalan artist with native resonances for MEAM. Charles Despiau’s Le Faune (lot 58), seen on the cover of the catalogue, displays a softer classicism in line with the work of Aristide Maillol. Portraiture is represented by François Pompon’s charming Bust of André Leproust, and Jan and Joël Martel’s extraordinary clean-cut image of Professor Henri Vignes.

Each of the works in the catalogue were exhibited in Una mica d’escultura, si us plau! L’escultura europea del segle XX at MEAM, a dedicated exhibition of the Museum’s collection of European 19thand 20th-century sculpture.


Inspired by Rodin's Gates, he created what Gaston de Pawlowski described as the 'distraught entwinings' of his marble female nudes. Pina created a group of these in embodying 'femininity with its supple grace and its transparencies of flesh which shine through the luminosity of marble'.

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