拍品 179
  • 179

阿里斯蒂・麥約,《站立的浴女,雙手碰肩》

估價
400,000 - 600,000 USD
招標截止

描述

  • Aristide Maillol
  • 《站立的浴女,雙手碰肩》
  • Inscribed Maillol, numbered 1/6 and with the foundry mark A. Bingen eT Costenoble Fondeur Paris.
  • Bronze

來源

Estate of the artist
Private Collection, France (acquired by 1984)
Sale: Ader-Picard-Tajan, Paris, December 7, 1989, lot 26b
Private Collection, Japan (and sold: Sotheby’s, New York, May 8, 2002, lot 12)
Dina Vierny, Paris (acquired at the above sale)
Private Collection, Switzerland (acquired from the above)
Acquired from the above in 2010

展覽

Yamanashi, Musée Départmental des Beaux-Arts; Hiroshima, Musée Hiroshima des Beaux-Arts; Kumamoto, Musée Préfectoral des Beaux-Arts de Kumamoto; Kanazawa, Musée Préfectoral des Beaux-Arts, Ishikawa; Matsuyama, Musée Préfectoral des Beaux-Arts, Ehime; Kobe, Musée Préfectoral d’Art Moderne, Hyogo & Tokyo, Musée d’Isetan, Exposition Maillol au Japon, 1984, no. S-15, illustrated in the catalogue

出版

John Rewald, Maillol, London, 1939, illustration of another cast p. 129
Marguette Bouvier, Aristide Maillol, Lausanne, 1945, illustration of another cast pl. 93
Waldemar George, Aristide Maillol, 1965, illustration of another cast p. 129
Paule-Marie Grand Chastel, Aristide Maillol, Milan, 1966, vol. 95, illustration of another cast pl. IV
Maillol: 1864-1944 (exhibition catalogue), Solomon R. Guggenheim Museum, New York, 1975, no. 26, illustration of another cast p. 51
Waldemar George, Aristide Maillol et l’âme de la sculpture, Neuchâtel, 1977, illustration of another cast pl. 133
Exposition Maillol au Japon (exhibition catalogue), Yamanashi Prefectural Museum, Fuefuki, 1984, no. S. 15, illustration of another cast

拍品資料及來源

The female body fascinated Maillol, and the present sculpture is one of his most idealized representations. Maillol's first rendering of this figure at the beginning of the twentieth century is emphatically avant-garde, characterized by a sleek linearity that would define the Modernist aesthetic. When Maillol turned his creative energy from tapestry to sculpture in 1898, the nude bather was one of the first motifs he explored, a subject steeped in the traditions of Western art history.

Bertrand Lorquin describes the true artistry at the heart of Maillol's work, "Maillol's sculpture achieves an ideal balance through the accuracy of its proportions as well as the harmony of its compositions. Paul Valéry once said that sculpture is an art full of surprises, and at each moment the sculptor chooses his viewpoint among an infinite array of possibilities. A Maillol statue is a perpetual revelation of the type of beauty which the sculptor invented" (Bertrand Lorquin, Aristide Maillol, London, 1995, pp. 102-03).

The authenticity of this work has been confirmed by Olivier Lorquin.
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