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拍品專文
Olivier Lorquin has confirmed the authenticity of this work.
La douleur was commissioned from Aristide Maillol by the Municipality of Céret in 1920 to commemorate its citizens who had perished in the First World War. By the time of this commission, Maillol was widely considered France's greatest sculptor and this was reflected in the numerous public commissions he received. Viewed by contemporary observers as diametrically opposed to the dramatic and expressive characteristic of the work of Auguste Rodin, Maillol's sculptures were, instead, seen to embody an innate classicism and timelessness. This is encapsulated in La douleur's compositional equilibrium, simplicity and sense of quiet dignity. Notwithstanding their differences of approach, Rodin greatly admired Maillol's sculptures. 'Maillol', Rodin is said to have declared, 'is one of the world's greatest sculptors ... His taste is impeccable and he reveals a great knowledge of life in simplicity ... the most admirable thing about Maillol, the eternal aspect, if I may express it thus, is his purity, his clarity, the limpid character of his craft and of his thought' (Rodin quoted in W. George, Aristide Maillol, London, 1965, p. 213).
Maillol himself said that two of Michelangelo's figures, Night of the Medici Tombs and the Virgin, provided the inspiration for the present work (A. Maillol, exh. cat., Buffalo, 1945, p. 21). The twisting, muscular forms of Michelangelo's Night however, contrast with La douleur's restrained composition, its elegant folds of drapery more reminiscent of a classical Greek Grave stele (see ibid.). Transcending these possible inspirations, the present sculpture remains true to Maillol's unique style, capable of expressing emotion through the purity of his classically-influenced lines.
La douleur was commissioned from Aristide Maillol by the Municipality of Céret in 1920 to commemorate its citizens who had perished in the First World War. By the time of this commission, Maillol was widely considered France's greatest sculptor and this was reflected in the numerous public commissions he received. Viewed by contemporary observers as diametrically opposed to the dramatic and expressive characteristic of the work of Auguste Rodin, Maillol's sculptures were, instead, seen to embody an innate classicism and timelessness. This is encapsulated in La douleur's compositional equilibrium, simplicity and sense of quiet dignity. Notwithstanding their differences of approach, Rodin greatly admired Maillol's sculptures. 'Maillol', Rodin is said to have declared, 'is one of the world's greatest sculptors ... His taste is impeccable and he reveals a great knowledge of life in simplicity ... the most admirable thing about Maillol, the eternal aspect, if I may express it thus, is his purity, his clarity, the limpid character of his craft and of his thought' (Rodin quoted in W. George, Aristide Maillol, London, 1965, p. 213).
Maillol himself said that two of Michelangelo's figures, Night of the Medici Tombs and the Virgin, provided the inspiration for the present work (A. Maillol, exh. cat., Buffalo, 1945, p. 21). The twisting, muscular forms of Michelangelo's Night however, contrast with La douleur's restrained composition, its elegant folds of drapery more reminiscent of a classical Greek Grave stele (see ibid.). Transcending these possible inspirations, the present sculpture remains true to Maillol's unique style, capable of expressing emotion through the purity of his classically-influenced lines.