Lot Essay
Victor-Joseph-Jean-Ambroise Ségoffin (d.1925) studied under Cavelier and Barrias and was awarded the Prix de Rome in 1897. He specialised in portraits of artists, but under the influence of his masters and that of Rodin and Falguière also produced allegorical and mythological figures. His work was exhibited regularly at the Salon from 1890.
The present marble, known both as La Danse Guerrière or La Danse Sacrée was commissioned in plaster in 1903 and in marble in 1904. By 1908 the plaster was standing in the Ministère du Commerce, was moved to the Musée in Agen in 1913 and unfortunately destroyed in 1964. The over-life-size marble originally stood in the Palais de l'Elysée, but is now in the Musée d'Orsay. The model was also edited in various sizes in bronze by Susse Frères.
Stylistically, the Danse Guerrière relates to Rude's triumphant Génie de la Patrie (1835-36), which Ségoffin doubtless admired in its place on the Arc de Triomphe. The exagerated proto-Classical dance step of the figure may have been as a result of the insipient interest in the world of the Antique and the dance style of the time, typified by the performances of Isadora Duncan (d.1927). However, Antique examples of maenads dancing in abandon with cymbals must also have struck the artist and these he would have seen during his stay in Rome.
The present marble, known both as La Danse Guerrière or La Danse Sacrée was commissioned in plaster in 1903 and in marble in 1904. By 1908 the plaster was standing in the Ministère du Commerce, was moved to the Musée in Agen in 1913 and unfortunately destroyed in 1964. The over-life-size marble originally stood in the Palais de l'Elysée, but is now in the Musée d'Orsay. The model was also edited in various sizes in bronze by Susse Frères.
Stylistically, the Danse Guerrière relates to Rude's triumphant Génie de la Patrie (1835-36), which Ségoffin doubtless admired in its place on the Arc de Triomphe. The exagerated proto-Classical dance step of the figure may have been as a result of the insipient interest in the world of the Antique and the dance style of the time, typified by the performances of Isadora Duncan (d.1927). However, Antique examples of maenads dancing in abandon with cymbals must also have struck the artist and these he would have seen during his stay in Rome.