184
184

PROPERTY OF A PRIVATE COLLECTOR

Auguste Rodin
L'ÉTERNEL PRINTEMPS, SECOND ÉTAT, QUATRIÈME RÉDUCTION
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184

PROPERTY OF A PRIVATE COLLECTOR

Auguste Rodin
L'ÉTERNEL PRINTEMPS, SECOND ÉTAT, QUATRIÈME RÉDUCTION
前往

拍品詳情

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Auguste Rodin
1840 - 1917年
L'ÉTERNEL PRINTEMPS, SECOND ÉTAT, QUATRIÈME RÉDUCTION
Inscribed Rodin and with the foundry mark F. Barbedienne.Fondeur; stamped S (on the underside)
Bronze
Height: 10 in.
25.4 cm
Conceived in 1884, this reduction conceived in 1898 and cast in an edition between 63-69 between 1898-1918 by the Barbédienne Foundry, Paris; this example cast between 1910-18.
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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 2019-595BB.

來源

Private Collection, United States (and sold: Sotheby’s, New York, September 30, 1999, lot 1)
Acquired at the above sale

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, 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

L'Éternel printemps was one of Rodin's most celebrated sculptures of the 1880s. For the figure of the woman Rodin used the highly sensual Torse d'Adèle, 1882, which was named after the model who posed for the sculptor. This form was first used to the left of the tympanum of the Gates of Hell and again later in La Chute d'un ange, but it gained its greatest fame when united with the youthful male in the present work. 

Animated by the dazzling play of light on the surface and the sweeping upward movement of the man, the figures seem ready to take flight. As Ionel Jianou and Cécile Goldscheider have noted: "Rodin is an artist who can see and dares to express in all sincerity what he has seen. He discovers the enchantment of light and its resources, the vibration and intimate movement of surfaces and planes, the throb of passion that animates form. He uses 'highlights, heavy shadows, paleness, quivering, vaporous half-tones, and transitions so finely shaded that they seem to dissolve into air', giving his sculpture 'the radiance of living flesh'" (Ionel Jianou & Cécile Goldscheider, op. cit., p. 19).

From dealing with love in an allegorical way, Rodin began treating it in more human terms. As evident in the present work, there is a marked increase in the eroticism of his art and a corresponding growth in the daring movement of the poses which could be a reflection of the artist's studio practice allowing the models to move freely and independently. Rodin himself proclaimed: "Sculpture does not need to be original, what it needs is life... I used to think that movement was the chief thing in sculpture and in all I did it was what I tried to attain... Grief, joy, thoughts—in our art all becomes action" (quoted in ibid., pp. 19-20).

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