DOCSLIB.ORG

Aristide Maillol (1861-1944)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aristide Maillol (1861-1944) ARISTIDE MAILLOL (1861-1944) Seated Young Woman Covering her Eyes Bronze proof Signed : ARiSTIDE MAillOl H. 22 ; W. 17 ; D. 6 cm Provenance Private Swedish collection Bibliography Maillol, collection “Das Meisterwerk,” Gustav Weise Verlag, Berlin, date unknown, repr.n°6. Maillol, exhibition catalogue, Berlin, Galerie Alfred Flechtheim, November 29 – Christmas 1928, repr. p.27. Rewald, John, Maillol, Editions Hypérion, Paris, 1939, repr. n°31. A. Maillol – with an introduction and survey of the artist’s work in the American collections, Albright Art Gallery, Buffalo, 1945, n°9, repr. p.68 (copy from the Art Institute of Chicago). Sculptures des XIXe et XXe siècles, Musées de Poitiers, 1983, repr. p. 89. Berger, Ursel, et Zutter, Jörg,Aristide Maillol, Berlin, Georg-Kolbe Museum, January 14 – May 5, 1996, Lausanne, Musée des Beaux-Arts, May 15 – September 22, 1996, Brême, Gerhard Marcks-Museum, October 6 1996 – January 13, 1997, Manheim, Städtische Kunsthalle, January 25 – March 31 1997, Flammarion, Paris, 1996, repr. p. 40 and p. 86. Maillol, exhibition catalogue, Barcelona, Caixa Catalunya, October 19, 2009 – January 31, 2010, repr. p. 137. Rodin-Maillol, face à face, exhibition catalogue, Perpignan, Hyacinthe- Rigaud art museum, June 22 – November 3, 2019. "Maillol is a sculptor as great as the greatest … In this small bronze, you can see enough proof of this for all the world—for the old masters as well as for the young and up-coming … I'm very happy to have seen it … If the wordgenius , inappropriately applied to so many people, still has any meaning today, it is here … Yes, Maillol is a genius of sculpture … You'd have to be in bad faith or extremely ignorant not to recognize it." Auguste Rodin[1] In 1882, Aristide Maillol left Banyuls-sur-Mer to enter the École Nationale Supérieure des Beaux-Arts in Paris in the hope of becoming a painter. But he didn't respond well to academic pedagogy, and he developed an aversion to painting. It was the beginning of a difficult time for the artist, exacerbated by poverty and ill health. One day, going through the Cluny Museum, he discovered the famous series of tapestriesThe Lady and the Unicorn and decided to open a weaving studio in his native city. It was there that he met Clotilde Narcisse, the woman who would become not only his wife, but also his first model. Immersed in the Banyuls-sur-Mer landscape, Aristide Maillol was surrounded by the elements. He began sculpting a variety of female figures in pieces of wood that he found around his studio, and it was thus that he discovered his passion for statuary art at the end of the 1890s. He went from creating figurines in wood to sculpting them in clay. Unlike his later works, these statuettes were not done before live models. "I did them all without models; I did all my statuettes without models, without even drawings. I did them just like that, you see—I invented them entirely. Which is why they seem so true."[2] The Young Woman Seated Covering her Eyes belong to that collection of works. These statuettes are crucial to Maillol's œuvre; they inaugurate the themes that he would continue to explore throughout the entire length of his career. From 1900 on, Aristide Maillol was prolific, and he produced a great many small female statuettes. Historians often contrast this period of great productivity with the end of his career, when the sculptor took several years to complete his works. Maillol had his first success in 1902, thanks to an exhibition of his works at the Vollard gallery. His friend Edouard Vuillard introduced him to the dealer, and it was a meeting that was to prove decisive for the sculptor's future. Ambrose Vollard was one of the first people to buy some of his figurines, later casting them in bronze. During the exhibition, Maillol's work was praised by both Octave Mirbeau and Rodin. The plaster model of Young Woman Seated Covering her Eyesbelonged to Octave Mirbeau; it is reproduced under the titlePudeur (Modesty)[3] in the catalogue for the sale of the writer's collection (February 24, 1919). These statuettes were very successful at the time. On December 20, 1905, Maillol sold a group of seven of them to Ambroise Vollard, includingFemme assise le bras replié autour de la tête(Seated Woman with Arm Wrapped Around Her Head) also known asYoung Woman Seated Covering her Eyes. Because of the sale contract, Vollard was legally able to edition the work in an unlimited number, following the tradition of bronze dealers in the 19th century. Their contract specifically stipulated that Vollard was buying "the rights to editioning and reproduction," which explicitly means that the sculptor renounced his personal rights to reproduce his work.[4] As a consequence, the number of proofs made of Young Woman Seated Covering her Eyes is difficult to determine. For his bronze editions from 1909 on, Ambroise Vollard worked with the Parisian foundry of Florentin Godard, a specialist in sand castings. Works produced under this system of production, of which our proof is one, usually do not carry a founder's stamp; Florentin Godard's foundry activities ended sometime in the 1930s.[5] It was in the context of this system of production at the beginning of the 20th century that Young Woman Seated Covering her Eyes was done. It depicts a naked young woman seated on a rock, her legs stretched out, leaning on one hand while her right arm is folded around her head to hide her face. "This statuette [ … ] is very symbolist in theme and reminds us that Maillol was close to the Nabis group and was of the same generation. The figurines in the first group that Maillol sculpted were often compared to Tanagra figurines because of their dense, slender forms. The artist went on to create more angular compositions with strict, almost severe, verticalities such as we find inPudeur . But even in this rather rectilinear approach, we can already see the elements that would make Maillol's fame, his exploration of synthesis."[6] Maillol further pursued the theme of the seated woman in his Lapiece Méditerranée ( The Mediterranean Sea), a highlight of the 1905 Salon d'Autonme. The Young Woman Seated Covering her Eyes could equally be compared to another small statuette from the same period titled Nu allongé (Reclining Nude), dating from the beginning of the 20th century.[7] The young woman is depicted in a semi-reclining posture, under a drapery. While her right leg is raised, her right breast is hidden by her right arm; her face is turned away from the viewer in a gesture of modesty. A number of proofs ofYoung Woman Seated Covering her Eyes are held in public collections, including the Hermitage Museum in Saint Petersburg (Inv. H.CK-1718)[8], the Sainte-Croix museum in Poitiers (Inv. 953.11.73)[9], the Art Institute of Chicago (Inv.1934.383 )[10], and the museum of modern and contemporary art in Strasbourg (Inv. 55.974.0.953)[11] There are, in addition, other proofs of thisYoung Woman Seated Covering her Eyes in different materials held in various public collections. The Städtische Galerie in Frankfurt am Main in Germany has a stucco proof of the statuette, and the Kröller-Müller Museum in Otterlo (Netherlands) has a copy in varnished terra cotta (Inv. KM 122.310)[12] [1] Octave Mirbeau, Aristide Maillol, Paris, Société des dilettantes, 1921, p. 29. [2] Berger, Ursel, and Zutter, Jörg,Aristide Maillol, exhibition catalogue, Flammarion, Paris, 1996, p. 40. [3] Rodin-Maillol, face à face, exhibition catalogue, Perpignan, Hyacinthe- Rigaud museum, June 22 to November 3, 2019, p. 131 or available on line on the site of the INHA library: https://bibliotheque- numerique.inha.fr/viewer/32321/?offset=#page=53&viewer=picture&o=bookmarks&n=0&q= [4] Expert certification by Ursel Berger, September 8, 2019. Before the law of April 9, 1910, the right to reproduce a work passed automatically to the buyer (see Élisabeth Lebon, Dictionnaire des fondeurs de bronzes d'art France 1890- 1950, Marjon éditions, 2003, p. 91). [5] In herDictionnaire des fondeurs de bronzes d'art France 1890-1950 (Marjon éditions, 2003, p. 166), Élisabeth Lebon states that Florentin Godard's activities ended around 1933-1937. [6] Blandine Chavanne, "Pudeur," inSculptures des XIXe and XXe siècles, Musées de Poitiers, 1983, p. 89. [7] Rewald, John, Maillol, Editions Hypérion, Paris, 1939, repr. #25. [8] Aristide Maillol, Girl Covering her Face with her Hand, 1905, bronze, H. 22 cm, Inv. H.CK-1718. [9] Aristide Maillol, Pudeur, 1900, 22 x 18 x 5.7 cm, signed on the back of the seat ARISTIDE MAILLOL, Inv. 953.11.73. [10] Aristide Maillol, Girl with Arm over her Eyes, 1900, bronze, signed on the back of the base "Aristide Maillol," 21.3 x 17.5 x 6.5 cm, Inv. 1934.383. [11] Aristide Maillol,Femme nue assise sur un rocher (c. 1905) patinaed bronze, 21.5 x 16.3 x 5.5 cm. [12] Aristide Maillol,Young Woman Seated Covering her Eyes (c. 1900), varnished terra cotta, 20.7 x 6.5 x 17 cm, Inv.KM 122.310..
Load more

Recommended publications
  • Alberto Giacometti and the Crisis of the Monument, 1935–45 A
    UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures.
    [Show full text]
  • September 17, 2020 Contact: Paula Hornbostel | Director, Lachaise Foundation [email protected] | (212) 605-0380
    PRESS RELEASE. For Immediate Release: September 17, 2020 Contact: Paula Hornbostel | Director, Lachaise Foundation [email protected] | (212) 605-0380 Gaston Lachaise Sculpture, Floating Woman, 1927, to be Installed in Hunter’s Point South Park On Thursday, September 24 at 3pm The Lachaise Foundation and the Hunters Point Parks Conservancy will be hosting a brief, socially distant unveiling ceremony, with short dance performance by local dance company Karesia Batan | The Physical Plant to celebrate the addition of Floating Woman in Hunter’s Point South Park. Members of the press are invited to attend. Event will occur by the sculpture, near the intersection of 51st Ave. and Center Blvd. Follow by Live- stream: @Paula_Hornbostel_LachaiseFoundation Long Island City, NY – Hunters Point Parks Conservancy and the Lachaise Foundation are thrilled to announce the temporary installation of Gaston Lachaise’s Floating Woman (Floating Figure) in Hunter’s Point South Park. The work is one of Lachaise’s best-known, monumental works dating from the late twenties. The buoyant, expansive figure represents a timeless earth goddess, one Lachaise knew and sought to capture throughout his career. This vision was inspired by his wife, who was his muse and model, Isabel, that “majestic woman” who walked by him once by the Bank of the Seine. This work is a tribute to the power of all women, to ‘Woman,’ as the artist referred to his wife, with a capital W. Gaston Lachaise devoted himself to the human form, producing a succession of powerfully conceived nude figures in stone and bronze that reinvigorated the sculptural traditions of Auguste Rodin and Aristide Maillol.
    [Show full text]
  • Aus Datenschutz- Bzw. Urheberrechtlichen Gründen Erfolgt Die Publikation Mit Anonymisierung Von Namen Und Ohne Abbildungen
    Provenienzbericht zu Aristide Maillol, „Stehender Akt“, 38 x 28,1 cm (Lostart-ID: 533053) Version nach Review v. 16.10.2018 ǀ Projekt Provenienzrecherche Gurlitt (Stand: 28.06.2017) Aus datenschutz- bzw. urheberrechtlichen Gründen erfolgt die Publikation mit Anonymisierung von Namen und ohne Abbildungen. Lost Art-ID: 533053: Provenienzbericht zu Aristide Maillol, Stehender Akt, Rötel (?) auf Papier, um 1935 (?), 38 x 28,1 cm1 Dr. Ulrike Saß Staatsanwaltschaft Augsburg Staatsanwaltschaft Augsburg bezeichnet unten links: Monogramm Beschriftet auf der Vorderseite: Unten rechts mit Bleistift: 150,- Beschriftet auf der Rückseite: Oben links mit Bleistift: Dr. Gurlitt Unten links mit Bleistift: IV/66 Unten links mit Bleistift: 148_51 Provenienz (…) Hildebrand Gurlitt (Aufschrift auf der Rückseite) Durch Erbgang an Cornelius Gurlitt, München/Salzburg Seit 6. Mai 2014: Nachlass Cornelius Gurlitt Werkidentität Das Kunstwerk wird aufgrund der Signatur und des Motivs Aristide Maillol zugeschrieben. Das Motiv wurde von Maillol für die in Lithografien ausgeführten Illustrationen zur Liebeskunst / Ars Amatoria 1 Überarbeitung durch Projektleitung erfolgt am 10.10.2018. Seite 1 von 11 Provenienzbericht zu Aristide Maillol, „Stehender Akt“, 38 x 28,1 cm (Lostart-ID: 533053) Version nach Review v. 16.10.2018 ǀ Projekt Provenienzrecherche Gurlitt (Stand: 28.06.2017) von Ovid verwendet.2 Neben dem illustrierten Gesamtwerk in schwarz gab es eine zusätzliche – von Maillol autorisierte – Lithografieserie mit einer Auflage von 50. Diese sind laut Werkverzeichnis ganzseitig und mit Rötel auf Papier abgezogen worden.3 Die Zustandsprotokolle für das hier beforschte Werk geben als Technik Rötel auf Papier an.4 Zweifel bezüglich dieser Angabe entstehen auf Grund der detailgetreuen Nähe zu der im Werkverzeichnis von Guérin gelisteten Lithografie.
    [Show full text]
  • Dina Vierny—A Life of Art and Resistance
    FOR IMMEDIATE RELEASE Rosenberg & Co. Opens Exhibition DINA VIERNY—A LIFE OF ART AND RESISTANCE September 27 – December 18, 2021 Rosenberg & Co. is pleased to present Dina Vierny: A Life of Art and Resistance, a long-overdue exhibition celebrating the influential role of Dina Vierny (1919– 2009) as an art dealer, museum founder, political activist, and artist’s model. Tracing the very veins of midcentury conflict, Dina Vierny’s life and politics—from her participation in the Front Populaire, to her work with Varian Fry and the French Resistance, to her open subversion of the USSR— are rivaled only by her role within the history of art. Dina Vierny in front of Maillol’s painting Dina à la robe rouge (1940) during the Galerie And yet, Vierny is primarily known as the model and “muse” of the famed Dina Vierny’s inaugural exhibition, 1947. sculptor Aristide Maillol. Feminist art historians have done inestimable work to Photograph by Gaston Karquel. address the gendered disparity in the attention accorded to female artists, but for those women in the arts who were not artists—such as dealers and executors—few descriptors exist to ensure accurate representation. Focusing on the life of Vierny acknowledges the social nature of art history. Through a relational lens and historical research, Rosenberg & Co. seeks to reveal Vierny’s extensive impact upon midcentury art, and to resituate her work with Maillol as simply the beginning of her career. As a teenager, Vierny was a member of socialist youth organizations, sang in cabarets, and posed for photographer and singer Pierre Jamet, whom she met in the choir of the Association des Écrivains et Artistes Révolutionnaires.
    [Show full text]
  • 1. MFM. Maillol .- 15/1/18 13:02 Página 1
    19 Quaderns Quaderns del Museu Frederic Marès del Museu Maillol i Grècia i Maillol Frederic Marès/19 1. La dona i el Romanticisme. Exposicions Cicle de conferències. 1996 2. Estudis. 1999 3. La taula de l’ambaixador. Maillol El Triomf de taula de Damià Campeny. 1999 4. Emili Fontbona (1879-1938). Escultor. 1999 i Grècia 5. Aureum opus. Cinc segles de llibres il·lustrats. 2000 6. Alejo de Vahía, mestre d’imatges. 2001 7. La col·lecció somiada. Escultura medieval a les col·leccions catalanes. 2002 8. Retrat del passat. La col·lecció de fotografies del Museu Frederic Marès. 2003 9. Objecte i memòria. 2004 10. Escultures famoses. La difusió del gust per l’antiguitat i el col·leccionisme. 2005 11. Teatres de joguina. De l’entreteniment al col·leccionisme. Catalunya, segles XIX-XX. 2005 12. La fortuna d’unes obres. Sant Pere de Rodes, del monestir al museu. 2006 13. Mirada endins. Talles medievals revelades per la càmera de Domi Mora. 2007 14. Porte-bouquets. Insòlites joies de la col·leció Kenber. 2008 15. La bellesa ideal. Antoni Solà (1780-1861). Escultor a Roma. 2009 16. La Barcelona irreverent. De la Societat del Born al Niu Guerrer (1858-1910). 2012 17. La Graine d’Amour. Xavier visita el Museu Frederic Marès. 2013 18. Una mirada al 1700 A partir del gravats de la col·lecció Gelonch Viladegut. 2014 Maillol, Mediterrània, 1905 Col·lecció particular Coberta: Maillol a Delfos. Foto: Harry Kessler, Deutsches Literaturarchiv Marbach 1. MFM. Maillol _.- 15/1/18 13:02 Página 1 Maillol i Grècia 1.
    [Show full text]
  • Aristide Maillol (1861-1944)
    ARISTIDE MAILLOL (1861-1944) Head of Spring Bronze proof, #3 Lost wax cast by Claude Valsuani Monogram: M H. 36.2, W. 20, D. 24.5 Provenance Weyhe Gallery, New York Gertrude Denis, New York Façade Gallery, New York Private Collection, Maryland (1986-2008) Private Collection, France (2008-2015) Bibliography Cladel, Judith, Maillol, sa vie, son œuvre, ses idées (Maillol, His Life, His Work, His Ideas), Bernard Grasset, 1937. Berger, Ursel, et Zutter, Jörg, Aristide Maillol, Berlin, Georg-Kolbe Museum, January 14 to May 5, 1996, Lausanne, Musée des Beaux-Arts, May 15 to September 22 1996, Brême, Gerhard Marcks-Museum, October 6 1996 to January 13 1997, Manheim, Städtische Kunsthalle, January 25 to March 31 1997, Flammarion, Paris, 1996. Maillol, Kunsthal Rotterdam, September 15 2012 to February 10, 2013, Tielt, Uitgeverij Lannoo, Paris, Musée Maillol, Kunsthal Rotterdam, 2012. The Head of Spring comes from Spring, a life-d standing figure that Maillol did around 1911 for the great Russian collector Ivan Morosov. Thanks to Maurice Denis, Morosov commissioned four figures from Maillol for the music room of his Moscow palace—Pomona, Summer, Flora, and Spring. The group was constituted of two pairs, each including a statue with flowers, a reference to spring, and another, a symbol of maturity. The four sculptures in bronze are currently held in the Pushkin Museum in Moscow. For Maillol, "the four allegories symbolize the idea of youth."[1] At the 1910 Salon d'Automne, Maillol exhibited a plaster titled Torso of a Young Girl, Youth [2]; the position of the head, the handling of the hair, and the profile of that work are all similar to those of the Head of Spring.
    [Show full text]
  • Peter Fischli (June 2018 - Spring 2019)
    If Everything Is Sculpture Why Make Sculpture? Artist's Choice: Peter Fischli (June 2018 - spring 2019) Robert Breer (American, 1926–2011) Osaka I 1970 Fiberglass shell, steel frame, battery-driven motor, and rubber-tire wheels 6' 1" (185.3 cm) high x 6' 1 1/8" (185.6 cm) in diameter Gift of PepsiCo, Inc. 378.1971.a-b Mary Callery (American, 1903–1977) Horse 1942 Bronze 49 1/8 x 34 3/8" (124.8 x 87.3 cm), base 37 1/4" (94.4 cm) in diameter Purchase 256.1944 Herbert Ferber (American, 1906–1991) Roof Sculpture with S Curve, II 1954 (cast 1969) Bronze 49 3/8 x 60 x 26 3/4" (125.4 x 152.4 x 67.8 cm), at base 45 3/8 x 21 3/4" (115.1 x 55.1 cm) Given anonymously 1080.1969 Peter Fischli (Swiss, born 1952) Untitled Aspen Wall Nr. 6 2017 and 2018 Rubber, steel plate, anchors, metal framing, screws, fiberglass mat sheathing, corner bead, exterior joint compound, liquid vapor barrier, elastomeric paint 96 × 144 × 24" (243.8 × 365.8 × 61 cm) Courtesy the artists CE2018.34 Peter Fischli (Swiss, born 1952) Brochure Box 2017 Bronze 14 3/16 × 12 3/8 × 3 1/8" (36 × 31.5 × 8 cm) Courtesy the artist LN2018.1036 Peter Fischli (Swiss, born 1952) Brochure Box 2017 Bronze 40 3/16 × 12 3/8 × 3 1/8" (102.1 × 31.4 × 7.9 cm) Courtesy the artist LN2018.1037 Peter Fischli (Swiss, born 1952) Brochure Box 2017 Bronze 14 3/16 × 12 3/8 × 3 1/8" (36 × 31.4 × 7.9 cm) Courtesy the artist LN2018.1038 Katharina Fritsch (German, born 1956) Yellow Madonna from Group of Figures 2006-08 (fabricated 2010-11) Bronze, copper, and stainless steel, lacquered Dimensions variable Gift of Maja Oeri and Hans Bodenmann (Laurenz Foundation) 598.2009 Isa Genzken (German, born 1948) Rose II 2007 Stainless steel, aluminum, and lacquer 36' x 9' 6" x 42" (1097.3 x 289.6 x 106.7 cm) Gift of Alfred H.
    [Show full text]
  • Aristide Maillol
    ARISTIDE MAILLOL: THE SCULPTOR, THE MAN AND HIS MUSE The eminent artist's last model, Dina Vierny, has dedicated herself to preserving and perpetuating the legacy of his life's work "You'll see," Dina Vierny had said in Paris in the Maillol Museum, which she had established with such perseverance and stocked with examples of a lifetime's range of the famed sculptor's work. "He's alive. He will be with us in Banyuls." Aristide Maillol died in 1944. It had taken Vierny, Maillol's last model, some 30 years, from when she first had the idea of the museum, to finally open its doors to the public in 1995. We were to fly down to Banyuls-sur-Mer in southern France, where Maillol was born and where he died. Banyuls, south of Perpignan, is only about nine miles--by the precipitous hairpin road that skirts the Mediterranean--from the Spanish border. The Alberes Mountains squeeze down toward the sea; just beyond them rises the massive Pyrenees range and wilderness. Maillol and Dina Vierny, here in 1944, knew each other for ten years. His It is a land once colonized by Greeks, Romans, Phoenicians. The model and muse, she posed for such native language is Catalan. Just across the border, Catalonia has works as the bronze 1941 study for become an autonomous region of Spain, famous for breeding poets, Harmony (left). painters and sculptors. When Aristide Bonaventure Jean Maillol, a Catalan peasant, was born there in 1861, Banyuls was a fishing village with some small holdings of grapes and olives and a steady trade in smuggling across the border.
    [Show full text]
  • Paul Speck Curtis Carter Marquette University, [email protected]
    Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-1984 Paul Speck Curtis Carter Marquette University, [email protected] Published version. "The aB rbara Morgan Collection of Photographs" in Selected Works: Patrick and Beatrice Haggerty Museum of Art, Marquette University. Eds. Patrick and Beatrice Haggerty Museum of Art. New York, N.Y.: Pelion Press (1984): 139-140. © 1984 Haggerty Art Museum, Marquette University. Used with Permission. SELECTED WORKS Patrick and Beatrice Haggerty Museum of Art Marquette University Chemnitz. Terra-cotta versions are in Duisberg, Buf­ PAUL SPECK falo , Frankfurt, and recently, on the art markets of Cologne and Dusseldorf. 1o A bronze from the family of Swiss (1896-1966) the artist is in the collection of the Lehmbruck Museum in Duisberg, and another cast is in the Osterreichische Paul Speck was born in 1896 in the Swiss town of 1 Gale rie in Vienna. ll Hombrechtikon. From 1914 to 1924 he lived in The Kneeling Woman is an eerie, spiritual work; Munich, until 1919 as a student of the painter Stanis­ although its "limb architecture," the attenuated repre­ laus StUckgold. He began working in ceramics about sentation of a figure kneeling, seems its most prominent the age of sixteen and became quite proficient in sub­ feature, it is Lehmbruck's theoretical conceptualiza­ sequent years. By 1924 he was teaching ceramics at the tion that was so revolutionary. This has been charac­ State Majolica factory in Karlsruhe and sculpture at terized as an attempt to "express thought and emotion the Badischen Landeskunstschule. In 1934 he returned through movement and expressive distortion ..
    [Show full text]
  • MAILLOL, LA FORME LIBRE 25 Janvier – 20 Mars 2021 - Commissariat : Valérie Da Costa
    36 rue Jacob Horaires: +33 (0)1 42 60 23 18 75006 - Paris Mardi - samedi : 11h - 19h [email protected] FRANCE Et sur rendez-vous www.galeriedinavierny.fr MAILLOL, LA FORME LIBRE 25 janvier – 20 mars 2021 - Commissariat : Valérie Da Costa La plus ancienne galerie de Saint-Germain-des-Prés fait peau neuve ! A l’occasion de son soixante-quatorzième anniversaire, la galerie Dina Vierny, qui a conservé son emblématique intérieur de bois tressé par Auguste Perret, changera de direction pour laisser place à la troisième génération, Pierre et Alexandre Lorquin, petits-fils de la fondatrice. Cette nouvelle ère commencera, comme un hommage, avec une exposition Maillol dont Dina Vierny fut la dernière muse. Le 25 janvier 1947, Dina Vierny ouvrait sa L’exposition présente ainsi des œuvres galerie au 36 rue Jacob, un espace entièrement inédites ou rarement exposées : dessins, dessiné et pensé par Auguste Perret, avec une sculptures en terre cuite et en bronze, exposition consacrée au sculpteur. carnets de croquis qui dévoilent cette modernité sculpturale qui irrigue le Aujourd’hui, la galerie, qui n’a en rien perdu travail de Maillol et nous permet de relire de son atmosphère d’origine, célèbre cette autrement son œuvre à l’aune des enjeux collaboration et l’amitié entre Dina Vierny esthétiques du XXe siècle. et Aristide Maillol. Confiée à l’historienne de l’art Valérie Da Un catalogue sera édité par la galerie, avec Costa, spécialiste de la sculpture moderne des textes de Valérie da Costa et Thierry et contemporaine, l’exposition Maillol, la Dufrêne, professeur en histoire de l’art forme libre s’attache à montrer comment contemporain à l’Université.
    [Show full text]
  • Aristide Maillol (1861-1944) Huile Sur Toile © Service Photographies, Ville De Perpignan
    Jeune fille de profil 1896 Aristide Maillol (1861-1944) Huile sur toile © Service Photographies, Ville de Perpignan. de Perpignan. Ville © Service Photographies, 1- Avant la visite Se familiariser avec un mouvement artistique La jeune fille de profil est une œuvre que Maillol a peinte vers l’âge de 30 ans, dans le style des Nabis. A la charnière des XIXe et XXe siècles, les artistes du groupe des Nabis (« prophètes » ou « inspirés de Dieu » en hébreu) font partie d’une avant-garde qui se situe aux origines de l’art moderne. Les Nabis ne cherchent pas à refléter dans leurs œuvres une réalité observée. Désireux d’intégrer l’art dans la vie quotidienne, ces peintres sont aussi des créateurs de céramiques, de vitraux, de meubles, d’affiches, de décors de théâtre... Ils sont d’ailleurs très liés aux mouvements littéraires et musicaux de leur temps. Durant une quinzaine d’années, entre 1888 et 1903, les Nabis vont constituer, grâce à leur esprit d’ouverture et à leur richesse d’inspiration, un mouvement particulièrement novateur. • Cherchez les noms de deux peintres et d’un sculpteur représentatifs de ce mouvement et sélectionnez une de leurs œuvres. 2- Pendant la visite Aristide Maillol, artiste peintre et sculpteur, naît à Banyuls-sur-mer en 1861 et décède en 1944. Il s’installe à Paris à l’âge de 20 ans. Grand admirateur de Paul Gauguin, il réalise des tapisseries et des peintures de style nabis, mais vers l’âge de 40 ans, des problèmes de vue l’obligent à abandonner la tapisserie. C’est alors qu’il se consacre à la sculpture.
    [Show full text]
  • ESPACE MUSÉES REND HOMMAGE À DINA VIERNY, FONDATRICE DU MUSÉE MAILLOL Aéroport Paris-Charles De Gaulle - 10 Octobre 2018 / 8 Mars 2019
    ESPACE MUSÉES REND HOMMAGE À DINA VIERNY, FONDATRICE DU MUSÉE MAILLOL Aéroport Paris-Charles de Gaulle - 10 octobre 2018 / 8 mars 2019 ESPACE MUSÉES REND HOMMAGE À DINA VIERNY, FONDATRICE DU MUSÉE MAILLOL Aéroport Paris-Charles de Gaulle - 10 octobre 2018 / 8 mars 2019 Le destin de Dina Vierny est unique dans l’histoire de l’art du XXème siècle. A l’aube du centenaire de sa naissance et dix ans après sa disparition, Espace Musées, le musée de l’Aéroport de Paris-Charles de Gaulle géré par Artcurial Culture, lui rend hommage en présentant 21 œuvres provenant de la collection particulière de ses fils, Olivier et Bertrand Lorquin, en partenariat avec la Fondation Dina Vierny-Musée Maillol. L’exposition « Dina Vierny – Un éclectisme électrique de Maillol à Marcel Duchamp » retracera différentes séquences de la vie de cette jeune femme de 15 ans, exilée de l’URSS de Staline, qui fut le modèle d’Aristide Maillol, le conduisant aux chefs d’œuvre de sa maturité, qui traversa la seconde guerre sous les couleurs de la Résistance, qui posa aussi pour Matisse, Bonnard et Dufy, puis ouvrit une galerie à Paris, et qui, enfin, créa en 1995 la Fondation Dina Vierny-Musée Maillol en hommage au sculpteur. Situé en plein cœur d’une salle d’embarquement de l’Aéroport Paris-Charles de Gaulle (Terminal 2E Hall M) où transitent plus de 4 millions de voyageurs par an (dont 60% de passagers internationaux), Espace Musées est un modèle inégalé dans le monde. Ce véritable musée (les expositions sont montées en partenariat avec les grands musées français), libre d’accès et gratuit pour les passagers en escale, témoigne de la démarche culturelle développée par le Groupe ADP partout dans ses aéroports pour que l’art fasse aussi partie du voyage.
    [Show full text]