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拍品詳情

印象派及現代藝術日拍

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Aristide Maillol
1861 - 1944年
POMONE DRAPÉE
Inscribed A. Maillol and with the foundry mark E. Godard Fondeur Paris and numbered E.A 2/4 
Bronze
Height: 70 1/2 in.
179 cm
Conceived in 1921; this example cast by Émile Godard, Paris.
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This work will be included in the forthcoming Catalogue raisonné de l’oeuvre d’Aristide Maillol currently being prepared under the supervision of Olivier Lorquin.

來源

Fondation Dina Vierny, Paris
Private Collection, Switzerland (acquired from the above)
Acquired from the above in 2012

出版

Exposition Maillol au Japon (exhibition catalogue), Museum of Fine Arts, Yamanashi; Museum of Fine Arts, Hiroshima; Prefectural Museum of Fine Arts, Kumamoto; Prefectural Museum of Fine Arts, Ishikawa, Kanazawa; Prefectural Museum of Fine Arts, Ehime, Matsuyama; Prefectural Museum of Modern Art, Hoyogo, Kobe & Isetan Museum, Tokyo, 1984, no. S-68, illustration of another cast n.p.
Maillol (exhibition catalogue), Galerie Dina Vierny, Paris, 1987, illustration of the plaster p. 114
Bertrand Lorquin, Aristide Maillol, London, 1995, illustration of the plaster & of another cast p. 88
Maillol (exhibition catalogue), Rotterdam, Kunsthal Rotterdam; Paris, Musée Maillol & Tielt, Belgium, Uitgeverij Lannoo, 2012-13, no. 42, illustration in color of another cast p. 79

相關資料

Pomone drapée was conceived in 1921 during a period when Maillol was working on several commissions for monumental sculptures. This life-size figure allowed him once again to explore a theme that had interested him during his early career. The sculpture was based on an earlier version of Pomone, which Maillol created in 1910. In that sculpture, the figure extends her arms in a rigid gesture of offering to the beholder. In the present work, however, the artist renders Pomone with a much more relaxed posture, allowing her arms to rest at her sides. The resulting sculpture appears more naturalistic than the earlier version, and possesses a lifelike softness that the original Pomone lacked. John Rewald wrote the following about Maillol’s sculpture: "To celebrate the human body, particularly the feminine body, seems to have been Maillol’s only aim. He did this in a style from which all grandiloquence is absent, a style almost earthbound and grave… The absence of movement, however, is compensated by a tenderness and charm distinctively his own" (John Rewald, in Aristide Maillol (exhibition catalogue), Rosenberg Gallery, New York, 1958, pp. 6-7).

印象派及現代藝術日拍

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紐約