Lot Essay
Olivier Lorquin a confirmé l'authenticité de cette œuvre.
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Jeune fille debout
Details
Aristide Maillol (1861-1944)
Jeune fille debout
signé 'ARISTIDE MAILLOL' (sur le côté droit de la base)
bronze à patine brune
Hauteur: 68 cm.
Conçu vers 1901; cette épreuve fondue du vivant de l'artiste
signed 'ARISTIDE MAILLOL' (on the right side of the base)
bronze with brown patina
Height: 26 ¾ in.
Conceived circa 1901; this bronze cast during the artist's lifetime
Jeune fille debout
signé 'ARISTIDE MAILLOL' (sur le côté droit de la base)
bronze à patine brune
Hauteur: 68 cm.
Conçu vers 1901; cette épreuve fondue du vivant de l'artiste
signed 'ARISTIDE MAILLOL' (on the right side of the base)
bronze with brown patina
Height: 26 ¾ in.
Conceived circa 1901; this bronze cast during the artist's lifetime
Provenance
Ambroise Vollard, Paris.
Collection particulière, Paris (par descendance).
Puis par descendance au propriétaire actuel.
Collection particulière, Paris (par descendance).
Puis par descendance au propriétaire actuel.
Literature
J. Rewald, Maillol, Paris, 1939, p. 167, no. 126 (la version en bois illustrée, pl. 126).
W. George, Maillol, Paris, 1971, p. 101 (une autre épreuve illustrée; titré 'Petite Flore vêtue'; daté 'vers 1907').
W. George, Maillol, Paris, 1971, p. 101 (une autre épreuve illustrée; titré 'Petite Flore vêtue'; daté 'vers 1907').
Special Notice
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection
details.
Further Details
Déesse des fleurs et du Printemps dans la mythologie romaine, figure du renouveau et divinité de la fertilité, Flore est pour Ovide celle qui «préside à ces belles années de jeunesse où la vie est surabondante, où le corps est dans toute sa vigueur» (Fastes). Aristide Maillol semble vouloir, à travers ce bronze de femme aux rondeurs voluptueuses et au calme aplomb, donner vie aux vers du poète latin. En effet, une douce sensualité émane de la jeune femme dont les formes ont la générosité habituelle des modèles du sculpteur. Sa Jeune fille debout se distingue toutefois des représentations plus traditionnelles de la déesse, souvent dépeinte pleine de vitalité - comme la Flore de René Fremin - fleurie à la tête ou portant un bouquet à la main. Ici, dans la simplicité néoclassique qu’il confère à son sujet, Maillol rend néanmoins hommage au corps féminin, source d’inspiration inépuisable de son œuvre. Par son immobilité frontale, la déesse rappelle en même temps les cariatides antiques que l’artiste a pu admirer lors de son séjour en Grèce au printemps 1908. Légèrement dissimulée par un voile diaphane, elle s’offre pourtant ostensiblement au regard de ceux qui veulent l’admirer. Parce qu’elle est celle qui fait éclore et épanouir, Flore devient allégorie de la femme, et la femme incarnation de la nature même.
La présente sculpture est une fonte datant du vivant de l’artiste, réalisée sous le contrôle de Maillol et est l’un des rares bronzes réalisés à partir d’un bois sculpté et non d’un plâtre.
Flora, the Roman goddess of flowers and springtime, symbol of renewal and goddess of fertility, is for Ovid she who “presides over the golden years of youth, bursting with life, when the body is at its most vigorous” (Fastes). Aristide Maillol seems to have intended to bring the Latin poet’s lines to life through this bronze of a woman with voluptuous curves and quiet composure. Indeed, a gentle sensuality emanates from the young woman whose outlines have the fullness typical of the sculptor’s models. His Jeune fille debout differs quite markedly, however, from more traditional representations of the goddess, who is often depicted as full of vitality – like René Fremin’s Flore – and with flowers in her hair or a bunch of flowers in her hand. Here, despite the neoclassical simplicity he confers on his subject, Maillol celebrates the female form, the inexhaustible source of inspiration for his work. The goddess’s forward-facing, immobile stance also recalls the classical caryatids that the artist had the opportunity to admire during his stay in Greece in the spring of 1908. Slightly concealed by a diaphanous veil, she is, however, ostensibly offering herself up to the gaze of those who wish to admire her. Being the one who draws forth life and makes it bloom, Flora is thus an allegory of womanhood as the very incarnation of nature.
The present sculpture was cast during the artist’s lifetime, under Maillol’s supervision and is one of the rare bronze sculpture’s that was realized from a carved wood rather than plaster model.
La présente sculpture est une fonte datant du vivant de l’artiste, réalisée sous le contrôle de Maillol et est l’un des rares bronzes réalisés à partir d’un bois sculpté et non d’un plâtre.
Flora, the Roman goddess of flowers and springtime, symbol of renewal and goddess of fertility, is for Ovid she who “presides over the golden years of youth, bursting with life, when the body is at its most vigorous” (Fastes). Aristide Maillol seems to have intended to bring the Latin poet’s lines to life through this bronze of a woman with voluptuous curves and quiet composure. Indeed, a gentle sensuality emanates from the young woman whose outlines have the fullness typical of the sculptor’s models. His Jeune fille debout differs quite markedly, however, from more traditional representations of the goddess, who is often depicted as full of vitality – like René Fremin’s Flore – and with flowers in her hair or a bunch of flowers in her hand. Here, despite the neoclassical simplicity he confers on his subject, Maillol celebrates the female form, the inexhaustible source of inspiration for his work. The goddess’s forward-facing, immobile stance also recalls the classical caryatids that the artist had the opportunity to admire during his stay in Greece in the spring of 1908. Slightly concealed by a diaphanous veil, she is, however, ostensibly offering herself up to the gaze of those who wish to admire her. Being the one who draws forth life and makes it bloom, Flora is thus an allegory of womanhood as the very incarnation of nature.
The present sculpture was cast during the artist’s lifetime, under Maillol’s supervision and is one of the rare bronze sculpture’s that was realized from a carved wood rather than plaster model.
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