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拍品專文
En 1918, après le départ du sculpteur Richard Guino, avec qui il avait collaboré pour la création d'une vingtaine d' oeuvres, Renoir engage un jeune sculpteur, Louis Morel. Ensemble, ils créent ces trois hauts-reliefs en terre cuite sur le thème de Dionysos.
"Il est émouvant que les toutes dernières sculptures de ce vieil homme, qui était paralysé et proche de la fin de sa vie, évoquent la musique et la danse." (Haeserts, op. cit., p. 33). Comme Guino l'avait fait avant lui, Morel modella ces hauts-reliefs à partir des dessins de Renoir.
In 1918, after the departure of the sculptor Richard Guino, with whom he had collaborated on roughly 20 works, Renoir engaged the younger sculptor Louis Morel. Together they created those three terracotta high reliefs on Dionysian themes.
"It is a moving fact that the very last sculptures of this old man, who was paralyzed and not far from his end, evoked music and dance" (Haesaerts,op. cit.,p. 33). As Guino had done before him, Morel modeled the reliefs from drawings by Renoir.
"Il est émouvant que les toutes dernières sculptures de ce vieil homme, qui était paralysé et proche de la fin de sa vie, évoquent la musique et la danse." (Haeserts, op. cit., p. 33). Comme Guino l'avait fait avant lui, Morel modella ces hauts-reliefs à partir des dessins de Renoir.
In 1918, after the departure of the sculptor Richard Guino, with whom he had collaborated on roughly 20 works, Renoir engaged the younger sculptor Louis Morel. Together they created those three terracotta high reliefs on Dionysian themes.
"It is a moving fact that the very last sculptures of this old man, who was paralyzed and not far from his end, evoked music and dance" (Haesaerts,op. cit.,p. 33). As Guino had done before him, Morel modeled the reliefs from drawings by Renoir.