Le baiser, troisième réduction

細節

Auguste Rodin (1840-1917)
Le baiser, troisième réduction
signed 'Rodin' (on the right) and inscribed with foundry mark 'F. BARBEDIENNE Fondeur' (on the left side)
bronze with brown patina
Height: 15 5/8 in. (39.2 cm.)
Conceived circa 1885-1886; this reduced version conceived in 1901; this bronze version cast between 1901-1918

來源

B. Gerald Cantor, Beverly Hills (1971).
Gift from the above to the present owner, 1976.

出版

G. Grappe, Catalogue du Musée Rodin, Paris, 1927, p. 47, nos. 91-92 (marble version illustrated, no. 91).
C. Goldscheider, Rodin, sa vie, son oeuvre, son héritage, Paris, 1962, p. 49 (marble version illustrated).
B. Champigneulle, Rodin, London, 1967, pp. 157 and 282, nos. 78-79 (marble version illustrated, pp. 162-163).
R. Descharnes and J.-F. Chabrun, Auguste Rodin, Lausanne, 1967, p. 130 (marble version illustrated in color, p. 131).
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 100 (marble version illustrated, and detail of marble version illustrated, pls. 54-55).
C. Goldscheider, Rodin Sculptures, London, 1970, no. 49 (marble version illustrated).
J.L. Tancock, The Sculpture of Auguste Rodin, Philadelphia, 1976, pp. 72, 90 and 108 (marble version illustrated, p. 77).
N. Barbier, Marbres de Rodin: Collection de Musée Rodin, Paris, 1987, p. 184, no. 79 (marble version illustrated, p. 185).
A.E. Elsen, Rodin's Art, The Rodin Collection of the Iris & B. Gerald Cantor Center for the Visual Arts at Stanford University, New York, 2003, pp. 214-215, no. 49 (another cast illustrated).

展覽

Boston, The Fogg Art Museum, Metamorphoses of 19th Century Sculpture, March 1975 - January 1976.

拍品專文

Le baiser was originally planned for one of the doors of La porte de l'Enfer but it was removed from the final design because Rodin considered it too large. The inspiration for the sculpture is taken from Dante's Inferno and it represents the two lovers Paolo Malatesta and Francesca de Rimini. Of all Dante's love stories, this forbidden liaison, so reminiscent of courtly love, had the greatest resonance for a late 19th century audience. Although Le baiser is usually dated 1886, the subject was likely conceived much earlier. There is a similar group of embracing lovers in the clay model of La porte de l'Enfer which Rodin probably executed not long after he received the commission in 1880, and its subject and style is also related to L'éternel Printemps which was probably modeled in 1884. In 1887 Rodin excecuted a life-size version in painted plaster that came to be known as François da Rimini and was exhibited in 1887 in Brussels. Following his election to the Legion d'Honneur that same year, the French government commissioned him to do a larger-than-life marble version of the plaster. Work progressed slowly and the marble sculpture, now known as Le baiser, was finally exhibited at the Paris Salon of 1898.