178
178

PROPERTY OF A GENTLEMAN

Auguste Rodin
EVE, PETITE MODÈLE (MODÈLE À LA BASE CARRÉE ET AUX PIEDS PLATS)
前往
178

PROPERTY OF A GENTLEMAN

Auguste Rodin
EVE, PETITE MODÈLE (MODÈLE À LA BASE CARRÉE ET AUX PIEDS PLATS)
前往

拍品詳情

Impressionist & Modern Art Day Sale

|
紐約

Auguste Rodin
1840 - 1917年
EVE, PETITE MODÈLE (MODÈLE À LA BASE CARRÉE ET AUX PIEDS PLATS)
Inscribed A. Rodin, with the foundry mark .Georges Rudier. .Fondeur. Paris. and © by musée Rodin 1967; stamped A. Rodin (on the interior)
Bronze
Height: 29 1/2 in.
74.9 cm
Conceived in 1883 and cast in an edition of 6 between 1955-67 by the Georges Rudier Foundry, Paris; this example cast in 1967.
參閱狀況報告 參閱狀況報告

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 2007V1242B.

來源

Musée Rodin, Paris
Dominion Gallery, Montreal (acquired from the above in October 1967)
Private Collection, Montreal (acquired from the above in the early 1970s)
MK Fine Art, New York
Acquired from the above in 2010

出版

Georges Grappe, Catalogue du Musée Rodin, Paris, 1929, no. 55, illustration of the marble version p. 41
Judith Cladel, Auguste Rodin, sa vie glorieuse, sa vie inconnue, Paris, 1936
Ionel Jianou & Cécile Goldscheider, Rodin, Paris, 1967, illustration of the plaster pl. 17
John L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, no. 8-5, illustration of another cast p. 154
Albert E. Elsen, The Gates of Hell by Auguste Rodin, Stanford, 1985, no. 64, illustrations of another cast pp. 74-78
Raphäel Masson & Véronique Mattiusi, Rodin, Paris, 2004, illustration of another cast p. 39
Antoinette Le Normand-Romain, The Bronzes of Rodin, Catalogue of the Works in the Musée Rodin, vol. I, Paris, 2007, illustrations of other casts pp. 340 & 341

相關資料

Conceived as part of Rodin's monumental portal The Gates of Hell, the present work is a sensual portrayal of the mother of humanity at the moment she becomes aware of her nakedness. The psychological effect of Eve's revelation is rendered through her striking pose, almost as if seeking shelter in her own embrace. The fullness of her figure and the beautifully modeled curve of her body reflect her strength as well as the vulnerability of this realization. Rodin's working model for this sculpture was a life-size plaster that he never finished, allegedly because his model was pregnant and could not endure the long hours of posing. The artist completed two versions of the sculpture at the present size, often referred to as Petite Eve

The poet Rainer Maria Rilke described the work beautifully in 1903: "It shrivels like burning paper, it becomes stronger, more concentrated, more animated. That Eve [which] was originally to be placed over The Gates of Hell, stands with her head sunk deeply into the shadow of the arms that draw together over the breast like those of a freezing woman. The back rounded, the nape of the neck almost horizontal. She bends forward as though listening to her own body as a new future begins to stir. And it is as though the gravity of this future weighed upon the sense of the woman and drew her down from the freedom of life, into the deep, humble service of motherhood" (Rainer Maria Rilke, Auguste Rodin, New York, 1919, n.p.).

Examples of this model are included in the collections of the Musée des Beaux-Arts in Nice, Carnegie Museum of Art in Pittsburgh and the Iris & B. Gerald Cantor Foundation in Los Angeles.

Impressionist & Modern Art Day Sale

|
紐約