WORKS FROM THE COLLECTION OF JOE R. & TERESA L. LONG
Auguste Rodin
L'ÉTERNEL PRINTEMPS, SECOND ÉTAT, 4ÈME RÉDUCTION, DITE AUSSI "NO. 2"
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印象派及現代藝術日拍
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Auguste Rodin
1840 - 1917年
L'ÉTERNEL PRINTEMPS, SECOND ÉTAT, 4ÈME RÉDUCTION, DITE AUSSI "NO. 2"
Inscribed Rodin. and stamped with the foundry mark Alexis Rudier Fondeur. Paris.; stamped with the raised signature A. Rodin (on the interior)
Bronze
Height: 9 3/4 in.
24.7 cm
Conceived in 1894; this reduction conceived in 1898 and this example cast by the Alexis Rudier foundry in 1927.
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Bronze
Height: 9 3/4 in.
24.7 cm
Conceived in 1894; this reduction conceived in 1898 and this example cast by the Alexis Rudier foundry in 1927.
This work will be included in the forthcoming Catalogue Critique de l'oeuvre sculpté d'Auguste Rodin currently being prepared by the Comité Rodin in collaboration with Galerie Brame & Lorenceau under the direction of Jérôme Le Blay under the archive number 2019-5939B.
來源
Musée Rodin, Paris
Eugène Rudier, Le Vésinet (acquired from the above)
M Massot-Pellet, France (acquired in 1970)
Sale: Hôtel Drouot, Paris, April 1, 1975
Edgardo Acosta, Los Angeles (acquired at the above sale)
Georges Sakelaris, Portland (acquired from the above)
Steve Banks Fine Arts, San Francisco
Acquired from the above on January 16, 1998
Eugène Rudier, Le Vésinet (acquired from the above)
M Massot-Pellet, France (acquired in 1970)
Sale: Hôtel Drouot, Paris, April 1, 1975
Edgardo Acosta, Los Angeles (acquired at the above sale)
Georges Sakelaris, Portland (acquired from the above)
Steve Banks Fine Arts, San Francisco
Acquired from the above on January 16, 1998
出版
Léon Maillard, Auguste Rodin, Statuaire, Paris, 1899, illustration of another version pp. 121-22
Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, nos. 69-70, illustration of another version p. 42
Judith Cladel, Rodin, London, 1936, illustration of the marble version p. 97
Georges Grappe, Le Musée Rodin, Paris, 1944, no. 87, illustration of another version pl. 56
Robert Descharnes & Jean-François Chabrun, Auguste Rodin, London & Melbourne, 1967, illustration of another version p. 134
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, nos. 56-57, illustrations of another cast pls. 56-57
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32b, illustration of another version p. 246
Rodin (exhibition catalogue), Fondation Pierre Gianadda, Martigny, 1984, no. 63, illustration of another cast p. 111
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, no. S.777, illustration of another cast p. 334
Georges Grappe, Catalogue du Musée Rodin, Paris, 1927, nos. 69-70, illustration of another version p. 42
Judith Cladel, Rodin, London, 1936, illustration of the marble version p. 97
Georges Grappe, Le Musée Rodin, Paris, 1944, no. 87, illustration of another version pl. 56
Robert Descharnes & Jean-François Chabrun, Auguste Rodin, London & Melbourne, 1967, illustration of another version p. 134
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, nos. 56-57, illustrations of another cast pls. 56-57
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 32b, illustration of another version p. 246
Rodin (exhibition catalogue), Fondation Pierre Gianadda, Martigny, 1984, no. 63, illustration of another cast p. 111
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, no. S.777, illustration of another cast p. 334
相關資料
Also known as Zéphyr et la terre and Cupidon et Psyché, Rodin’s L'Éternel printemps was exhibited at the Salon of 1897 and has become one of his best-known works. It was conceived during an intense period of creativity while Rodin was mapping out La Porte de l’enfer, and like its twin, Le Baiser, also recalls Dante’s story of Paolo and Francesca who were condemned to spend eternity locked in passionate embrace. The carnality of the model marks a shift from his earlier classical and allegorical depictions of love to more sensual representations and daring poses.
"No one could make bodies ‘speak’ better than Rodin" writes Norman-Romain. "At the peak of his powers, aided by the youth and openness of the models who posed for him, he conveyed his own euphoria in [Eternal Springtime] with a very skillful composition, built on an X, whose elegant forms, enhanced by the languidness of the bodies and the delicacy of the embrace, made it one of his most highly acclaimed works" (Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, p. 335).
"No one could make bodies ‘speak’ better than Rodin" writes Norman-Romain. "At the peak of his powers, aided by the youth and openness of the models who posed for him, he conveyed his own euphoria in [Eternal Springtime] with a very skillful composition, built on an X, whose elegant forms, enhanced by the languidness of the bodies and the delicacy of the embrace, made it one of his most highly acclaimed works" (Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, vol. I, Paris, 2007, p. 335).
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