.jpg?w=1)
Lot Essay
L'éternel printemps was one of Rodin's most popular compositions and one of the sculptor's greatest commercial successes. Also entitled Zéphyr et la terre and L'amour et Pysché, it was exhibited at the Salon of 1897. Originally intended as a figural grouping for the La porte de l'enfer, the tone of that commission evolved into a more tragic representation and the amorous couple was not included in the final version. However, as with many of his great figural groupings, Rodin drew upon 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 La porte de l'enfer.
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.
Due to its popularity, Rodin executed a second version of L'éternel printemps, with an extended base and a rocky outcrop to support the left arm and outstretched leg of the male figure. This version became the model for the Barbedienne series which were produced in four sizes over a period of twenty years from 1898 to 1918.
The present work, the largest of all the L'éternel printemps, belonged to Rodin's cousin, Henri Cheffer (1849-1930), who was a witness at the artist's wedding to Rose Beuret in January, 1917 (fig. 1) and later a trustee to the artist's estate. Cheffer received several works from the artist as gifts. However, it is likely that he acquired this bronze directly from the Leblanc-Barbedienne gallery on the Rue Royale in Paris, which until 1918 exclusively sold the different versions of L'éternel printemps and Le baiser.
(fig. 1) Photograph of Henri Cheffer (third from left) at Rodin's wedding, January 1917.
BARCODE 10938768
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.
Due to its popularity, Rodin executed a second version of L'éternel printemps, with an extended base and a rocky outcrop to support the left arm and outstretched leg of the male figure. This version became the model for the Barbedienne series which were produced in four sizes over a period of twenty years from 1898 to 1918.
The present work, the largest of all the L'éternel printemps, belonged to Rodin's cousin, Henri Cheffer (1849-1930), who was a witness at the artist's wedding to Rose Beuret in January, 1917 (fig. 1) and later a trustee to the artist's estate. Cheffer received several works from the artist as gifts. However, it is likely that he acquired this bronze directly from the Leblanc-Barbedienne gallery on the Rue Royale in Paris, which until 1918 exclusively sold the different versions of L'éternel printemps and Le baiser.
(fig. 1) Photograph of Henri Cheffer (third from left) at Rodin's wedding, January 1917.
BARCODE 10938768