Auguste Rodin (1840-1917)
Auguste Rodin (1840-1917)
Auguste Rodin (1840-1917)
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Auguste Rodin (1840-1917)
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Auguste Rodin (1840-1917)

Cariatide à l'urne, taille originale dite aussi petit modèle

Auguste Rodin (1840-1917)
Cariatide à l'urne, taille originale dite aussi petit modèle
signed 'A. Rodin' (on the top of the base); inscribed with foundry mark '.Alexis. RUDIER. .Fondeur. PARIS.' (on the back of the base); with raised signature 'A. Rodin' (on the underside)
bronze with dark brown patina
Height: 16 in. (40.5 cm.)
Conceived circa 1881-1882; this bronze version cast in 1927
Musée Rodin, Paris.
Établissements Barbedienne, Paris (acquired from the above, February 1927).
Maison de l’art Français, Buenos Aires (1928).
Dr. Francisco Llobet, Buenos Aires.
G. Salomon, Buenos Aires.
Arthur Tooth & Sons, Ltd., London.
Galerie Claude Bernard, Paris.
M. Knoedler & Co., Inc., New York (1965-1966).
Hammer Galleries, New York.
Acquired from the above by the late owner, October 1975.
I. Jianou and C. Goldscheider, Rodin, Paris, 1967, p. 88.
A.T. Spear, Rodin Sculpture in the Cleveland Museum of Art, Cleveland, 1967, p. 99.
J.L. Tancock, The Sculpture of Auguste Rodin: The Collection of the Rodin Museum, Philadelphia, Philadelphia, 1976, p. 41.
J. Caso and P.B. Sanders, Rodin’s Sculpture: A Critical Study of the Spreckels Collection, California Palace of the Legion of Honor, San Francisco, 1977, pp. 155-157, no. 23 (another cast illustrated, pp. 154 and 157).
M.L. Levkoff, Rodin in His Time: The Cantor Gifts to the Los Angeles County Museum of Art, Los Angeles, 1994, p. 73, no. 17 (another cast illustrated, pp. 74-75; another cast illustrated in color, p. 72).
A.E. Elsen, Rodin’s Art: The Rodin Collection of the Iris and B. Gerald Center for Visual Arts at Stanford University, New York, 2003, p. 229, no. 57 (another cast illustrated, p. 231, fig. 179).
A. Le Normand-Romain, The Bronzes of Rodin: Catalogue of Works in the Musée Rodin, Paris, 2007, vol. I, pp. 246-249 (larger bronze version illustrated, p. 247).
London, Arthur Tooth & Sons, Ltd., Recent Acquisitions XVIII, November 1963, no. 34 (illustrated; titled Nu Accroupée).

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Allegra Bettini
Allegra Bettini

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Lot Essay

This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame et Lorenceau under the direction of Jérôme Le Blay under the archive number 2012-3946B.

Conceived circa 1881-1882, the original composition was created as an element at the top of the left pilaster of La porte de l'Enfer, where it crouches under folds of drapery above. Considered by critics at the time of its creation to be one of the master sculptor’s greatest works, the subject demonstrates his innovation in capturing not only the beauty of the human form but also imparting to it a psychological depth. With the urn upon her shoulder, the figure’s head is bent over by its weight. Pensive yet melancholic, she appears lost in her own world as if worn down by the physical burden itself. The spiraled, twisted shape of her body—with crossed arms, curving back and bent legs—not only demonstrates his modeling of the female form but encourages the viewer to regard her from all angles, each facet, protrusion and shadowing heightening the visual beauty of the bronze.
At the beginning of his creation of La porte de l'Enfer, Rodin was inspired by the work of Michelangelo, whom he greatly admired for the Florentine sculptor’s statuesque proportions and his ability to imbue his figures with emotional intensity. As Albert E. Elsen explained, “Fallen Caryatid is a work crucial in Rodin’s development, for it was made when he began to move away from Michelangelo’s influence as seen in Adam, Eve, and The Thinker. Rodin began to ask himself, ‘Why not work directly from life?’ The results contributed greatly to his reputation for originality, an explosive productivity in the early years of working on The Gates and an expansion of body language in sculpture” (op. cit., 2003, p. 232).

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