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拍品專文
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 2011-3519B.
Fugit Amor was originally conceived for Rodin's monumental project La Porte de l'Enfer, designed for the Musée des arts décoratifs in Paris. Rodin worked on this project for over thirty years from 1880 until his death in 1917, inspired by Lorenzo Ghiberti’s Gates of Paradise and Dante’s Divine Comedy. The subject was likely inspired by the story of the doomed lovers, Paolo and Francesca, evoked by Dante in Canto V of the Inferno. Rodin’s dramatic vision of this famous story suggests wider interpretations, exploring beyond Dante's narrative to incorporate themes explored in Charles Baudelaire’s Les Fleurs de mal: "Like the Divine Comedy, Les Fleurs de mal expressed a tragic view of the human condition, and Rodin responded to Baudelaire's evocation of sexual decadence and images of seduction, fatal women and rejected, remorseful men" (J.V. Miller and G. Marotta, Rodin, The B. Gerald Cantor Collection, New York, 1986, pp. 11-12). In Fugit Amor the two figures, touching but unable to embrace, exemplify unconsummated passion.
Commenting on the bronze, first presented to the public in 1889 at an exhibition of works by Claude Monet and Rodin, Octave Mirbeau was fascinated: "All Rodin's art is present in this small bronze, more distressing than any of Baudelaire's lines. Her bust erect, her temptingly fleshy breast pointing out, her body horizontal and quivering as an arrow shot through air, her face cruel, relentless, the woman flies through space. She has the unembraceable beauty of the chimeras we chase and of the dreams we never reach" (Claude Monet, Auguste Rodin, exh. cat., Paris, Galerie Georges Petit, p. 1). The symbolist interpretation of this group caused its immediate success. As early as 1888, Joanny Peytel, the sculptor's financial backer, the poet Gustave Kahn and the writer Guy de Maupassant commissioned the subject from Rodin, in marble and bronze versions. Rodin, who particularly liked this subject, offered several to some friends and leading figures. He gave a bronze version to the director of the Académie des beaux-Arts, Gustave Larroumet, who had just commissioned Rodin’s monument to Victor Hugo for the Panthéon in Paris. The present bronze is an exceptionally early cast, produced by the Adolphe Gruet Fils Ainé foundry in March 1895.
Fugit Amor was originally conceived for Rodin's monumental project La Porte de l'Enfer, designed for the Musée des arts décoratifs in Paris. Rodin worked on this project for over thirty years from 1880 until his death in 1917, inspired by Lorenzo Ghiberti’s Gates of Paradise and Dante’s Divine Comedy. The subject was likely inspired by the story of the doomed lovers, Paolo and Francesca, evoked by Dante in Canto V of the Inferno. Rodin’s dramatic vision of this famous story suggests wider interpretations, exploring beyond Dante's narrative to incorporate themes explored in Charles Baudelaire’s Les Fleurs de mal: "Like the Divine Comedy, Les Fleurs de mal expressed a tragic view of the human condition, and Rodin responded to Baudelaire's evocation of sexual decadence and images of seduction, fatal women and rejected, remorseful men" (J.V. Miller and G. Marotta, Rodin, The B. Gerald Cantor Collection, New York, 1986, pp. 11-12). In Fugit Amor the two figures, touching but unable to embrace, exemplify unconsummated passion.
Commenting on the bronze, first presented to the public in 1889 at an exhibition of works by Claude Monet and Rodin, Octave Mirbeau was fascinated: "All Rodin's art is present in this small bronze, more distressing than any of Baudelaire's lines. Her bust erect, her temptingly fleshy breast pointing out, her body horizontal and quivering as an arrow shot through air, her face cruel, relentless, the woman flies through space. She has the unembraceable beauty of the chimeras we chase and of the dreams we never reach" (Claude Monet, Auguste Rodin, exh. cat., Paris, Galerie Georges Petit, p. 1). The symbolist interpretation of this group caused its immediate success. As early as 1888, Joanny Peytel, the sculptor's financial backer, the poet Gustave Kahn and the writer Guy de Maupassant commissioned the subject from Rodin, in marble and bronze versions. Rodin, who particularly liked this subject, offered several to some friends and leading figures. He gave a bronze version to the director of the Académie des beaux-Arts, Gustave Larroumet, who had just commissioned Rodin’s monument to Victor Hugo for the Panthéon in Paris. The present bronze is an exceptionally early cast, produced by the Adolphe Gruet Fils Ainé foundry in March 1895.