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Lot Essay
L'éternel Printemps was one of the Rodin's most popular compositions and one of the sculptor's greatest commercial successes. Also entitled, Zephyr and the Earth and Cupid and Pysche, it was exhibited at the Salon of 1897. It was originally intended as a figural grouping for the Gates of Hell, but as the tone of the commission evolved into a more tragic representation, the amorous couple was not included in the final version. Yet, as with many of his great figural groupings, Rodin developed the characters from earlier works. The figure of the woman is based on Torse d'Adèle, which appears on the top left corner of the tympanum of the Gates of Hell.
Animated by the dazzling play of light on the surface and the sweeping upward movement of the man, the figures seem ready to take flight. In fact, the man's back shows traces of wings that identify him as Cupid. The female figure is leaning against the tree-like formation behind her and part of the ambiguity so prevalent in Rodin's work of this period is whether or not she has indeed emerged from it. The overhanging leg of the male figure and the uneasy counterpoint of the lovers reflects Rodin's innovative treatment of the figures.
This superb quality cast executed by the early founder, Griffoul et Lorge in 1892 was dedicated to Eugène Spuller, a high ranking public official who was particularly influential in supporting Rodin's future public commissions including the Monument à Jacques Castagnary now in the Cimetière du Pêre Lachaise in Paris. Spuller declined Rodin's initial offer of the plaster and instead suggested paying for the casting of a bronze version, as a more eternal medium. In a letter written from Somberon (Cotê d'Or) and dated 21 April 1892, Spuller wrote to Rodin:
Most honored artist... I will only see again the plaster that arrived at my home in rue Favart upon my arrival in Paris around May 17. I find the composition so wonderful - voluptuous and tender, that I want it in bronze, and please understand that it is due to my admiration for your artistic genius that I send it back to you hoping that my fantasy will not cost too much.
The present work was once part of the prestigious art collection formed by the Mastbaum family. Jules E. Mastbaum, a philanthopist from Philadelphia and a passionate collector of Rodin's work, conceived of the idea to establish the Rodin Museum in Philadelphia which opened to the public in 1929.
Animated by the dazzling play of light on the surface and the sweeping upward movement of the man, the figures seem ready to take flight. In fact, the man's back shows traces of wings that identify him as Cupid. The female figure is leaning against the tree-like formation behind her and part of the ambiguity so prevalent in Rodin's work of this period is whether or not she has indeed emerged from it. The overhanging leg of the male figure and the uneasy counterpoint of the lovers reflects Rodin's innovative treatment of the figures.
This superb quality cast executed by the early founder, Griffoul et Lorge in 1892 was dedicated to Eugène Spuller, a high ranking public official who was particularly influential in supporting Rodin's future public commissions including the Monument à Jacques Castagnary now in the Cimetière du Pêre Lachaise in Paris. Spuller declined Rodin's initial offer of the plaster and instead suggested paying for the casting of a bronze version, as a more eternal medium. In a letter written from Somberon (Cotê d'Or) and dated 21 April 1892, Spuller wrote to Rodin:
Most honored artist... I will only see again the plaster that arrived at my home in rue Favart upon my arrival in Paris around May 17. I find the composition so wonderful - voluptuous and tender, that I want it in bronze, and please understand that it is due to my admiration for your artistic genius that I send it back to you hoping that my fantasy will not cost too much.
The present work was once part of the prestigious art collection formed by the Mastbaum family. Jules E. Mastbaum, a philanthopist from Philadelphia and a passionate collector of Rodin's work, conceived of the idea to establish the Rodin Museum in Philadelphia which opened to the public in 1929.