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Lot Essay
Reine-Marie Paris has confirmed the authenticity of this work.
The present work is recognisable from the kneeling figure in Claudel's 1898 L'âge mûr. In the latter, the action takes place on three levels and the dynamic movement of the piece runs on a diagonal through the arms of the Implorante and into the main figure group. In 1899 Captain Tissier suggested to Claudel that she detach the kneeling figure from the group and model her as a separate figure. In June, Claudel wrote to him regarding the commission: 'La fonte en bronze de la femme à genoux, à cause de plusieurs coupes à faire, sera très difficultueuse et je ne crois pas pouvoir vous la donner à moins de 500F'.
Le dieu envolé is derived from the figure of the Implorante. She is, however, more upright, with her arms stretched higher and her hands closer together. Claudel has revised the original figure into a more altogether autonomous composition. 'Mais cette oeuvre diffère de toutes les autres suppliantes par l'extravagante chevelure qui s'enroule comme des serpents sur l'épaule et sur les seins à l'instar de la Clotho. Les cheveux sont animés comme une guirlande d'algues, et donnent à la jeune fille l'aspect d'une noyée' (R. M. Paris and A. de la Chapelle, op. cit., p. 167).
Reine-Marie Paris has confirmed the authenticity of this work.
The present work is recognisable from the kneeling figure in Claudel's 1898 L'âge mûr. In the latter, the action takes place on three levels and the dynamic movement of the piece runs on a diagonal through the arms of the Implorante and into the main figure group. In 1899 Captain Tissier suggested to Claudel that she detach the kneeling figure from the group and model her as a separate figure. In June, Claudel wrote to him regarding the commission: 'La fonte en bronze de la femme à genoux, à cause de plusieurs coupes à faire, sera très difficultueuse et je ne crois pas pouvoir vous la donner à moins de 500F'.
Le dieu envolé is derived from the figure of the Implorante. She is, however, more upright, with her arms stretched higher and her hands closer together. Claudel has revised the original figure into a more altogether autonomous composition. 'Mais cette oeuvre diffère de toutes les autres suppliantes par l'extravagante chevelure qui s'enroule comme des serpents sur l'épaule et sur les seins à l'instar de la Clotho. Les cheveux sont animés comme une guirlande d'algues, et donnent à la jeune fille l'aspect d'une noyée' (R. M. Paris and A. de la Chapelle, op. cit., p. 167).
Reine-Marie Paris has confirmed the authenticity of this work.