Property from the Estate of Leo Steinberg Leo Steinberg's reputation as one of the most influential art historians of the past sixty years was built upon his courage to challenge the accepted orthodoxies of art history. Trained as a draftsman and sculptor at the Slade School in London, he brought to his later studies in art history a deep respect for the work of art as a willed expression of the artist's aesthetic and conceptual concerns. Whether interpreting Old Master or modern art, Steinberg's scholarship rested on a sustained examination of the work. "There are moments," he wrote, "even in a wordy culture like ours, when images start from no preformed program to become primary texts. Treated as illustrations of what is already scripted, they withhold their secrets." This belief in the primacy of images led him to reject theory-based approaches, such as the Greenbergian formalism that dominated art criticism in the 1960s, or interpretations of Renaissance and Baroque art that proceeded from reading rather seeing. An inspirational lecturer in the classroom and in hundreds of public presentations, Steinberg was also an eloquent writer, who used language to penetrate the mysteries of an image. In addition to his scholarly publications and lectures, Steinberg, with his connoisseur's eye, acquired a considerable personal collection of art representing a broad range of historical periods and mediums. A good number of Steinberg's drawings acquisitions were unattributed when he discovered them in New York shops or on his travels. On the reverse of many of the frames are his notes, added throughout the years, with his attributions and research information as well as the opinions of his colleagues. Steinberg's enduring legacy will be the freshness and clarity of his ideas, the other criteria (to use the title of his classic collection of essays on modern art) that he applied to the visual and intellectual pleasure of looking.

Auguste Rodin (1840-1917)

Figure volante, petit modèle

细节

Auguste Rodin (1840-1917)
Figure volante, petit modèle
signed, numbered, dated and inscribed with foundry mark 'A. Rodin No. 2 c by Musée Rodin. 1962 .Georges Rudier. .Fondeur.Paris.' (on the right thigh)
bronze with dark brown patina
Length: 15 in. (38.1 cm.)
Height: 8¼ in. (21 cm.)
Conceived circa 1887; this bronze version cast in 1962

来源

Musée Rodin, Paris.
Acquired from the above by the late owner, February 1964.

出版

L. Steinberg, intro., Auguste Rodin: An Exhibition of Sculptures and Drawings, exh. cat., Charles E. Slatkin Galleries, New York, 1963, pp. 11, 19 and 25.
L. Steinberg, Other Criteria: Confrontations with Twentieth-Century Art, New York, 1972, pp. 362-363 (illustrated, figs. 194 and 230).
A.E. Elsen, The Sculpture of Henri Matisse, New York, 1972, p. 39, p. 41 (illustrated, pl. 46).
A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Paris, 2007, vol. I, p. 369, no. S. 581 (another cast illustrated).

展览

The Baltimore Museum of Art, The Partial Figure in Modern Sculpture: from Rodin to 1969, December 1969-February 1970, p. 22, no. 68 (illustrated).
New York, Andrew Crispo Gallery, Inc., Torso, May-June 1973.

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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 Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2012-3886B.