Marie

细节

Aristide Maillol (1861-1944)
Marie
signed with monogram 'AM' (on the top of the base); inscribed with foundry mark 'Alexis Rudier. Fondeur Paris' (on the side of the base)
bronze with green patina
Height: 62¼ in. (158 cm.)
Conceived in 1931; this bronze version cast before 1952

来源

Dina Vierny, Paris.

出版

W. George, Aristide Maillol et l'âme de la sculpture, Neuchâtel, 1977, p. 189 (another cast illustrated).
D. Vierny, Foundation Dina Vierny, Musée Maillol, Paris, 1995, p. 56 (detail of another cast illustrated).
B. Lorquin, Aristide Maillol, London, 1995, p. 113 (detail of another cast illustrated).

注意事项

Christie's interest in property consigned for sale. Christie's generally offers property consigned by others for sale at public auction. From time to time, lots are offered which Christie's International Plc or one of it's subsidiary companies owns in whole or in part. Each such lot is offered subject to a reserve. This is such a lot

拍品专文

Marie was conceived as the central figure for Les trois nymphes (1930-1938) and was the first of the three figures to be completed. Using as his model his maid Marie, the simple, smooth contours of the present work suggest a form of idealized beauty. There are no unnecessary details, no complicated gestures.

In his quest for beauty through the perfection of line and simplicity of form, Maillol continually revised and refined the female form. Maillol's patron, and the man who did the most to encourage Maillol's commercial success, Count Harry Kessler, recounted a visit to the Louvre when he and Maillol stopped stopped to look at a torso of Venus in which the details had been gently eroded from so many years in the sea:

This figure shows one what is the essential plastic quality of a work of art. A sculpture must be beautiful even after the original surface has been lost and it has been worn down like a sea-shell. This means that the essence of beauty endures all the same when one is in the presence of a true sculpture which possesses the miracle of harmony between its masses (H. Kessler, Maillol, exh. cat., Goupil Gallery, London, October 1928, quoted in B. Lorquin, Aristide Maillol, New York, 1995, p. 111).