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拍品专文
This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2007V1254B.
L'éternel Printemps was one of Rodin's most popular compositions and one of the sculptor's greatest commercial successes. Also entitled Zéphyr et la Terre and Cupidon et Psyché (there are small Cupid's wings on the back of the man), it was exhibited at the Salon of 1897. It was originally intended as a figural grouping for La porte de l'Enfer, but as the tone of the commission evolved into a more tragic representation, the amorous couple was not included in the final version. As with many of his great figural groupings, Rodin developed the characters from earlier works. The figure of the woman is based on Torse d'Adèle, which appears on the top left corner of the tympanum of La porte de l'Enfer.
The dynamic arrangement of the bodies is characteristic of Rodin's innovative treatment of figures at this time. Animated by the dazzling play of light on the surface and the sweeping upward movement of the man, the couple seems ready to take flight. In fact, the man's back shows traces of wings that identify him as Cupid. The female figure is leaning against the tree-like formation behind her and Rodin deliberately preserves the enigma of whether or not she has indeed emerged from it. It is unsurprising that collectors throughout time have been attracted to the potent combination of physical lyricism and romanticism that defines this piece.
L'éternel Printemps was one of Rodin's most popular compositions and one of the sculptor's greatest commercial successes. Also entitled Zéphyr et la Terre and Cupidon et Psyché (there are small Cupid's wings on the back of the man), it was exhibited at the Salon of 1897. It was originally intended as a figural grouping for La porte de l'Enfer, but as the tone of the commission evolved into a more tragic representation, the amorous couple was not included in the final version. As with many of his great figural groupings, Rodin developed the characters from earlier works. The figure of the woman is based on Torse d'Adèle, which appears on the top left corner of the tympanum of La porte de l'Enfer.
The dynamic arrangement of the bodies is characteristic of Rodin's innovative treatment of figures at this time. Animated by the dazzling play of light on the surface and the sweeping upward movement of the man, the couple seems ready to take flight. In fact, the man's back shows traces of wings that identify him as Cupid. The female figure is leaning against the tree-like formation behind her and Rodin deliberately preserves the enigma of whether or not she has indeed emerged from it. It is unsurprising that collectors throughout time have been attracted to the potent combination of physical lyricism and romanticism that defines this piece.