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“[Lachaise] was one of those rare artists who could on occasion achieve a likeness and psychological depth at the same time, a talent I greatly respect.”
—Louise BourgeoisOne of Gaston Lachaise’s final works, Garden Figure is exemplary of the artist’s signature redefinition of the voluptuous female nude. Inspired by the form of his wife, Isabel Dutaud Nagle, as his muse, this Rubensesque figure is the pastoral embodiment of fruitful abundance and demonstrates the artist’s formidable contributions to 20th century figurative sculpture. The sculpture is Lachaise’s second version of Garden Figure, and was developed from his first interpretation, which was commissioned in April 1935 by Nelson A. Rockefeller for his family’s estate in Pocantico, New York. The present cast of the second version of Garden Figure is one of the few large-scale sculptures in private hands by Lachaise, an increasingly rare-to-market artist who is widely regarded as one of the most pivotal figures in American modernism.A Storybook Romance
Despite their conspicuous formal contrasts, both versions of Garden Figure—as in most of Lachaise’s oeuvre—were passionate representations of his lover and muse, Isabel Dutaud Nagle. Indeed, the palpable adoration that permeates the sculpture is evocative of the couple’s fairy-tale romance: when the artist was studying at the Académie Nationale des Beaux-Arts in Paris, he glimpsed Isabel—a married American sojourning in the city—strolling along the Seine and fell in love with her at first sight. “At twenty, in Paris,” Lachaise later recalled of their meeting, “I met a young American person who immediately became the primary inspiration which awakened my vision and the leading influence that has directed my forces. Throughout my career, as an artist, I refer to this person by the word ‘Woman.’”i
“You—who give me the Goddess I seek to express in all my work.”
—Gaston Lachaise to Isabel Dutaud NagleLeaving his home and the epicenter of the modern art world, he followed her to the United States— where she resided with her husband and young son—with virtually no comprehension of English and only $30. Upon arrival, he was a sculptor's assistant and worked over 12 hour days, breaking only to sleep and see Isabel while he waited years for her to divorce in order to marry her in 1917.
Isabel Nagle photographed by Gaston Lachaise in Maine, circa 1913 At the Height of Success
By the time of the execution of Garden Figure in 1935, Lachaise was already regarded as one of the most important sculptors working in the United States; that same year, his career was spotlighted in an exhibition at the Museum of Modern Art, New York—the first retrospective of a living American sculptor to be held at the institution. This critical acclaim was mirrored by commensurate commercial success with wealthy, discerning patrons, including Rockfeller, who afforded Lachaise’s work considerable attention.
“[Lachaise was] the greatest American sculptor of his time.”
— ARTnewsThe first version of Garden Figure commissioned by the legendary businessman is now held by the Hood Museum of Art at Dartmouth College. Lachaise went on to produce four other cement casts, three of which are now in the permanent collections of Portland Museum of Art; Smith College Museum of Art, Northampton; and The Fralin Museum of Art at the University of Virginia, Charlottesville.i Gaston Lachaise, quoted in Gerald Nordland, Gason Lachaise: The Man and His Work, New York, 1974, p. 8.
來源
波士頓加斯頓．拉雪茲基金會
紐約Robert Schoelkopf 畫廊（1973 年購自上述來源）
長島私人收藏（1984年購自上述來源）
現藏者繼承自上述來源過往展覽
New York, Robert Schoelkopf Gallery, Gaston Lachaise, October 20–December 6, 1973
Roslyn, The Nassau County Museum of Art, Monuments and Monoliths: A Metamorphosis, September 24–December 3, 1978, p. 7 (illustrated)
New York, Cheim & Read, Art Dealers Association of America: The Art Show, Gaston Lachaise and Louise Bourgeois: A Juxtaposition, March 5–9, 2014, n.p. (illustrated frontispiece and n.p.; titled Standing Woman)
New York, Christie's, Rockefeller Center and the Rise of Modernism in the Metropolis, January 17–February 25, 2015文學
James R. Mellow, “Lachaise Nude Sculptures Displayed," The New York Times, October 27, 1973, p. 27
Gerald Nordland, Gaston Lachaise: The Man and His Work, New York, 1974, p. 161
Gaston Lachaise: Sculpture, exh. cat., Salander-O’Reilly Galleries, Inc., New York, 1991, no. 35, pp. 78–79, 84 (another example illustrated, pp. 78-79; titled Standing Woman)
Louise Bourgeois, “Obsession,” Artforum, vol. 30, no. 8, April 1992, p. 87 (another example illustrated; titled Standing Woman)
Gaston Lachaise Sculptures, exh. cat., Galerie Gerald Piltzer, Paris, 1992, pp. 25, 60 (another example illustrated, p. 25; titled Standing Woman)
Sam Hunter, Lachaise, New York, 1993, pp. 214–219, 245 (another example illustrated, pp. 214-219; titled Standing Woman)
Gaston Lachaise: The Monumental Sculpture, exh. cat., Salander-O'Reilly Galleries, New York, 1994, n.p. (another example illustrated; titled Standing Woman)
Linda Muehlig, ed., Masterworks of American Painting and Sculpture from the Smith College Museum of Art, New York, 1999, fig. 48, pp. 48, 170, 257, note 10 (plaster model illustrated, p. 170)
Gaston Lachaise, exh. cat., La Piscine - Musée d'art et d'industrie André Diligent, Roubaix, 2003, fig. 96, no. 79, pp. 132, 195 (another example illustrated, p. 132; titled Femme debout (Standing Woman))
Maine Moderns: Art in Seguinland, 1900-1940, exh. cat., Portland Museum of Art, New Haven, 2011, p. 112, note 1藝術家簡介
加斯頓．拉雪茲
Gaston Lachaise was a French American sculptor whose heroic depictions of women reconsider traditional portrayals of the female figure. Having studied sculpture in his native Paris at the École des Beaux-Arts and worked as a modeler for Art Nouveau jeweler Rene Lalique, Lachaise brought a considerable wealth of knowledge and talent with him to the United States where he moved in pursuit of his future wife and muse Isabel Dutaud Nagle. There, Lachaise would define the nude in new and powerful ways.
Although Lachaise was a highly skilled, versatile, and knowledgeable sculptor, his practice reached new heights in the United States as he refined the core of his work: the concept of the woman as an embodiment of fundamental force, inspired by his wife, whom he viewed as the paragon of potent womanhood. Not long before he created both versions of Garden Figure, Lachaise summed up what he sought to achieve in his art: “The main thing is vitality.” FOOTNOTE: New York Herald-Tribune (New York, N.Y.), January 14, 1935, p. 7 [interview].
重要私人收藏
166
《花園人像（第二階段）[LF 137]》
款識：© G. LACHAISE G. LACHAISE、LACHAISE ESTATE 1/8（下方邊緣）
鈴印：MODERN ART FOUNDRY NEW YORK N.Y.（後方邊緣）
上色銅雕 石製底座
雕塑 77 1/2 x 31 1/2 x 23 1/2 英吋（196.9 x 80 x 59.7 公分）
底座 7 7/8 x 31 1/2 x 23 1/2 英吋（20 x 80 x 59.7 公分）
1935年構思，1973年由Modern Art鑄造廠作，共有8版，只有2版出版，此作為第1版。
鳴謝加斯頓．拉雪茲基金會即將出版的作品全集作者Virginia Budny檢閱此作品的編目。
估價
$300,000 - 400,000
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