Auguste Rodin (1840-1917)
PROPERTY FROM A DISTINGUISHED NEW YORK COLLECTOR
Auguste Rodin (1840-1917)

Danaïde

Details
Auguste Rodin (1840-1917)
Danaïde
signed 'A. Rodin' (on the front of the base), and stamped with foundry mark 'Alexis Rudier Fondeur Paris' (on the left side of the base); with raised signature (on the inside)
bronze with black patina
Height: 13 in. (33 cm.)
Conceived in 1885; this bronze version cast in 1927
Provenance
Musée Rodin, Paris (1927).
M. Barbet (acquired from the above, 1942).
Dr. G. David Thompson, Pittsburgh, Pennsylvania.
Museum of Modern Art, New York.
Paul Kantor Gallery, Beverly Hills.
Hammer Galleries, New York.
Acquired from the above by the present owner, 1963.
Literature
C. Mauclair, Auguste Rodin - The man - His ideas - His works, London, 1905, p. 28 (another cast illustrated).
R.M. Rilke, Auguste Rodin, Leipzig, 1917, pl. 17 (marble version illustrated).
G. Grappe, Catalogue du Musée Rodin, Paris, 1927, no. 77 (marble version illustrated).
A.E. Elsen, Rodin, New York, 1963, p. 132 (marble version illustrated).
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 90 (marble version illustrated).
J. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, pp. 253-256, no. 35-2 (marble version illustrated).
A.E. Elsen, Rodin Rediscovered, Washington, D.C., 1981, pl. 48 (marble version illustrated).
D. Finn and M. Busco, Rodin and his Contemporaries: The Iris and B. Gerald Cantor Collection, New York, 1991, p. 222 (another cast illustrated).

Lot Essay

One of the most tragic characters in Rodin's oeuvre is Danaïde, one of the daughters of Danaus, the King of Argos. According to Ovid's version of the myth, Danaïde was forced to draw water from leaking vessels in Hades as punishment for murdering her husband on their wedding night. Closely related to Andromeda, also executed in 1885, the composition was originally intended for La Port de l'Enfer, but was not incorporated into the final version.

Danaïde is a powerful and erotic figural composition, her tightly-curled position highlighting the sensuous curves of her body which seem to melt into the rocky surface. Rodin aptly captures Danaïde's moment of despair and loneliness, her body limp and exhausted by her futile task. Particularly notable is Rodin's mastery of surface textures, the smooth surface of her body strongly contrasting with the unfinished, craggy surface of the rock-like base. Another innovation is the treatment of her long hair which imitates the flowing water from the vessels on the other side of the sculpture. Rodin's faint signature, barely visible within the crevices of the base, remains from his original marble version.

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