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拍品專文
Olivier Lorquin has confirmed the authenticity of this sculpture.
During the early 1890s Maillol was primarily involved in easel painting, printmaking and designing tapestries. He was affiliated with the young followers of Paul Gauguin who called themselves The Nabis, and sought to explore the decorative possibilities in modern art. Following the example of Gauguin, Maillol carved several reliefs in wood, but he did not turn to sculpture as his primary means of expression until an eye inflammation in 1898 forced him to close his tapestry workshop. His earliest free-standing figures were conceived on a small scale and carved from wood. Maillol wrote of this process: "In carving, material and thought are linked by the hand alone; thus the raw material is imbued with a warmth of feeling drawn directly from the artist's nature" (quoted in J. Rewald, Maillol, New York, 1939, p. 12). It was not until 1900 that the artist began to explore other materials and soon thereafter produced bronzes. Torse à la chemise, conceived in 1900, was one of Maillol's earliest forays into the new medium.
Maillol was interested in the artworks of other cultures, and one culture that particularly influenced Maillol was ancient Greece--he adored the antiquities that the Greeks had left, finding in them a timeless grace and beauty. This led to him devising a concept of a universal art that was modern and yet retained a strong link with the past. Hence the subject of Torse à la chemise harks back to a theme that has been handed down countless ages, yet interpreted in a fresh and novel incarnation. Maillol's women, invocations of a timeless sensuality, play not to interpretation, but to the eye and to emotion, monuments to beauty itself.
During the early 1890s Maillol was primarily involved in easel painting, printmaking and designing tapestries. He was affiliated with the young followers of Paul Gauguin who called themselves The Nabis, and sought to explore the decorative possibilities in modern art. Following the example of Gauguin, Maillol carved several reliefs in wood, but he did not turn to sculpture as his primary means of expression until an eye inflammation in 1898 forced him to close his tapestry workshop. His earliest free-standing figures were conceived on a small scale and carved from wood. Maillol wrote of this process: "In carving, material and thought are linked by the hand alone; thus the raw material is imbued with a warmth of feeling drawn directly from the artist's nature" (quoted in J. Rewald, Maillol, New York, 1939, p. 12). It was not until 1900 that the artist began to explore other materials and soon thereafter produced bronzes. Torse à la chemise, conceived in 1900, was one of Maillol's earliest forays into the new medium.
Maillol was interested in the artworks of other cultures, and one culture that particularly influenced Maillol was ancient Greece--he adored the antiquities that the Greeks had left, finding in them a timeless grace and beauty. This led to him devising a concept of a universal art that was modern and yet retained a strong link with the past. Hence the subject of Torse à la chemise harks back to a theme that has been handed down countless ages, yet interpreted in a fresh and novel incarnation. Maillol's women, invocations of a timeless sensuality, play not to interpretation, but to the eye and to emotion, monuments to beauty itself.