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Aristide Maillol’s La nymphe aux fleurs, 1931, is a testament to the sensuality and gracefulness of the artist's use of line and form. The present work is one from a series of nymphs created by the artist between 1931 and 1937 in preparation for his groundbreaking three-part sculpture, Les trois nymphes. The figure is the leftmost form from Les trois nymphes, in which her outstretched hand holds the hand of the central figure, the three nymphs together referencing the Three Graces of Greek mythology. Per the artist’s title, however, these women are not Graces but nymphs of the “flowery meadows.”
According to Olivier Lorquin, the present form was cast before 1952 and probably during the artist's lifetime. In this work, the nymph stands alone, her gaze ahead as if beckoning to an unseen figure in the distance. Having a career-long preoccupation with the female nude, Maillol presents idealized proportions of the figure’s features, again recalling the ancient traditions of the Greeks and Romans. Inspiring other revolutionary artists such as Henry Moore, Maillol is one of the foremost sculptors of the late 19th and early 20th century. Creating his first sculptures around 1895, Maillol quickly gained popularity among collectors, including his contemporary, Auguste Rodin, throughout his lifetime, and his works continue to be sought after to this day.
Aristide Maillol, Les trois nymphes, 1937–1938, Tate, London. Image: © Tate, London / Art Resource “Maillol is the equal of the greatest sculptors. What is admirable in Maillol, what is, so to speak eternal, is the purity, the clarity, the limpidity of his workmanship and thought.”
—Auguste RodinIn many ways a celebration of the female figure, the present work emphasizes her perfectly symmetrical features. As noted by John Rewald, “to celebrate the human body, particularly the feminine body, seems to have been Maillol’s only aim. He did this in a style from which all grandiloquence is absent, a style almost earthbound and grave... the absence of movement, however, is compensated by a tenderness and charm distinctively his own.”i Perhaps using his maid, Marie, as his model, Maillol delicately renders her features through smooth lines, accentuating the peaks and valleys of her form in an idealized rendering. Perfectly proportioned, Maillol’s nearly life-sized figure represents the ideals of feminine beauty, a depiction that ties him directly to his predecessors of antiquity.
Torso of Aphrodite, circa 200 BC / 150 AD, National Gallery of Art, Washington, D.C. Image: National Gallery of Art, Washington, D.C., Gift of Barbara Harrison Wescott in memory of the Hon. Francis Burton Harrison Both the strong form and serene grace of the present work recalls the sculptural traditions of the ancient Egyptians, Greeks, and Romans. Maillol relies on the same principles of balance, harmony, and proportion in his works to create his idealized figures. This balance is deceptively simple, an attempt to render the female figure through geometric forms and line only, creating a sense of rhythm that flows through the modeled greenish patina. Though stagnant in pose, La nymphe aux fleurs suggests movement, through both her contrapposto stance, a Classical Greek technique, and her delicately raised hand, as if she might reach out towards the viewer in an instant. Utilizing these principles, Maillol creates portraits concerned with preserving and purifying classical tradition, allowing his sculptures to truly transcend time. Indeed, the present work captures this aim – his compositions have a sense of nostalgia to them, creating works that are at once timeless and contemporary.
iJohn Rewald, Aristide Maillol, exh. cat., Rosenberg Gallery, New York, 1958, pp. 6–7.
來源
馬爾利勒魯瓦Lucien Maillol收藏
紐約Cook Fine Art畫廊（2005年購）
現藏者於2005年4月1日購自上述來源過往展覽
Tokyo, Mitsukoshi Museum of Art; Hokkaido, Hakodate Museum of Art; Takamatsu Art Museum; Akita, Chiba Museum of Art; Fukushima Prefectural Museum of Art; Himeji City Museum, Maillol, September 1994–October 15, 1995, no. 63, p. 198 (illustrated)
Kaoshiung, Museum of Fine Arts, Taiwan, Aristide Maillol, 1996
Paris, Musée Maillol, Aristide Maillol, July 6–October 26, 1996
New York and London, C & M Arts, Aristide Maillol, April 10–June 1, 1997, no. 21, n.p. (illustrated)
Santa Fe, Gerald Peters Gallery, Aristide Maillol, November 20, 1998–February 5, 1999, no. 10, n.p. (illustrated)文學
George Waldemar, Aristide Maillol et l'âme de la sculpture, Paris, 1977, pp. 189, 191 (another cast illustrated)
Dina Vierny, Fondation Dina Vierny, Paris, 1995, pp. 56, 218 (another cast illustrated)
Bertrand Lorquin, Aristide Maillol, London, 1995, p. 113 (another cast illustrated)
Ο◆168
《花若蟲》
款識：藝術家花押字（底座頂部）鑄造廠標記、Épreuve D'Artiste Alexis Rudier Fondeur Paris（底座下方邊緣）
銅雕
62 x 20 x 15 1/2 英吋（157.5 x 50.8 x 39.4 公分）
1931年構思，1952年前於巴黎 Alexis Rudier 鑄造廠鑄造，共有6版與4版藝術家試作版，此作為藝術家試作版。
此作品已獲Dina Vierny確認。
估價
$600,000 - 800,000
成交價$635,000
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現代及當代藝術日間拍賣(上午部分)
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