Figures such as the present work were conceived in the tradition of antiquity and tempered by the influence of fellow artists Aristide Maillol and Pierre-Auguste Renoir. In his own words, Marini deviated from these colleagues by endowing his works with “a classical quality of anonymity. I have tried to express in them no personal sensuality of my own. I wanted to exclude from them the autobiographical element that allows us to recognize, in sculptures of Renoir or even Maillol, the artist’s own mistress or at least a particular contemporary type of feminine beauty that appealed to the sculpture more immediately than an eternal type of classical beauty” (quoted in Sam Hunter, Marino Marini, The Sculptor, New York, 1993, p. 171).
The year prior to the conception of this sculpture Marini won Grand Prize for sculpture at the Venice Biennale, confirming and accelerating his international renown. Two examples of this model are in the Albright Knox Gallery, Buffalo, and the Hans C. Bechtler Collection, Zurich. The polychrome plaster is in the Fondazione Marino Marini, Pistoia.
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