COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000636
image_record_id
aahi0000636
Image Record ID
false
Work Title (display):
The Bather, or the Wave
Image Title:
full view
Work Dates (display):
1896-1900
Work Dates type:
creation
Work Creator (display):
Aristide Maillol (French, 1861-1944)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
French sculptor, painter, designer and illustrator. He began his career as a painter and tapestry designer, but after c. 1900 devoted himself to three-dimensional work, becoming one of the most important sculptors of the 20th century. He concentrated almost exclusively on the nude female figure in the round, consciously wishing to strip form of all literary associations and architectural context. Although inspired by the Classical tradition of Greek and Roman sculpture, his figures have all the elemental sensuousness and dignity associated with the Mediterranean peasant. Maillol first intended to become a painter and went to Paris in 1881, where he lived in extreme poverty. Three years later the Ecole des Beaux-Arts finally accepted him as a pupil, where he began studies under Alexandre Cabanel. He found the teaching there discouraging and his early painted work was more strongly influenced by Pierre Puvis de Chavannes, Paul Gauguin, and the Nabis group which he joined around 1894; the Woman and the Wave (c. 1898; Paris, Petit Pal.) is directly influenced by Gauguin's Ondine (1889; Cleveland, OH, Mus. A.). Maillol's profile portraits, such as Profile of a Girl (c. 1890; Perpignan, Mus. Rigaud), are reminiscent of Puvis, and in his decorative approach to composition, rejection of depth and use of bright, flat areas of colour Maillol reveals his affinities with the Nabis. These qualities are even more apparent in The Washerwomen (c. 1890; Switzerland, priv. col.), although the monumentality of the Woman with a Parasol (c. 1892; Paris, Mus. d'Orsay) shows the influence of Quattrocento fresco painting. Sharing the same interest in the decorative arts as the Nabis and inspired by Gothic tapestries in the Musée de Cluny, Pariswhich he considered to be on a par with the paintings of Paul CézanneMaillol set up a tapestry workshop at Banyuls on the Mediterranean coast in 1893. His tapestries have groups of flat, decorative figures disposed across a shallow space, and they are coloured with bright vegetable dyes obtained from plants which Maillol himself sought out. The workshop, with support from Princess Bibesco, who bought the elaborate Music for a Bored Princess (1897; Copenhagen, Kstindustmus.) and several other tapestries, continued until c. 1900 when eye disease forced Maillol to discontinue. His portrait was painted at this time by his friend the Hungarian painter József Rippl-Rónai (for illustration see Rippl-rónai, józsef). Having also taken up ceramics he then turned The Wave into a bas-relief (destr.; plaster-cast, Paris, Mus. d'Orsay). In his spare time Maillol sculpted. His flat figures carved from small blocks of wood show the influence of the sinuous lines of Art Nouveau, especially in such works as The Dancer (1895; Paris, Mus. d'Orsay) and La Source (c. 1896; France, priv. col.), which later developed into more geometric, elongated forms, for example The Bather (1899; Amsterdam, Stedel. Mus.). He also modelled small, bold nude figurines in terracotta, aiming at simplicity and density of construction. The dealer Ambroise Vollard made numerous bronze casts of them (e.g. Leda, which was much admired by Auguste Rodin, and Women Wrestling; both 1900). In 1902 Vollard gave Maillol his first exhibition, in which the tapestries and statuettes figured prominently. In 1900 Maillol began work on his first major sculpture, a Seated Woman for which his wife posed, which was later named La Méditerranée. The first version (New York, MOMA), finished in 1902, was very close to his model. He noted, however, that it was not sufficient 'to have a model and to copy it. No doubt nature is the foundation of an artist's labours…. But art does not lie in the copying of nature' (Puig, 1965). Thus he resumed work and the definitive version (see fig.) was exhibited at the Salon d'Automne of 1905. He wanted the only meaning of this sculpture to reside in its formal beauty. With his acute sensitivity to form, he tightened the composition, which had been developed from a single viewpoint, into an almost perfect cube, simplifying the contours in the process. The sobriety and perfection of the form and gravity of La Méditerranée struck Octave Mirbeau and Maurice Denis as well as André Gide, who wrote (1905) of its 'silence'. All three saw Maillol as a classic artist in the mould of Cézanne. These qualities also attracted two collectors: Count Harry Kessler (Graf Henry Kessler) ordered a marble version of La Méditerranée (Winterthur, Samml. Oskar Reinhart) as early as 1905 (the French state did not do so until 1923: Paris, Mus. d'Orsay) and bought several bronzes, among them the Young Cyclist (1907) and Desire (19057). In 1908 Kessler took Maillol to Greece and c. 1910 commissioned woodcut illustrations for a new edition of Vergil's Eclogues. The initial letters for the Eclogues, which was privately published in Weimar by Kessler in 19267, were cut by the English artist Eric Gill. Later books with woodcuts or lithographs by Maillol include Daphnis and Chloe (1937) by Longus and Paul Verlaine's Chansons pour elle (1939). The Russian collector Ivan Morosov, his other patron, bought the first bronze cast of Pomona (example Paris, Jardin Tuileries) and commissioned three other figures in gilded bronze: Flora, Spring and Summer (all Moscow, Pushkin Mus. F.A.). Although Maillol did not altogether abandon painting, he increasingly concentrated on sculpture. Night (1909) was followed by Flora and Summer (1911), Ile de France (191025), Venus (191828), Nymphs of the Meadow (193037), the Memorial to Debussy (marble, 193033; Saint-Germain-en-Laye) and Harmony (1944), all of which are composed and harmonious nude female figures that contrast sharply with his unusually dynamic Action enchaînée (19058) and Mountain (1937). Maillol was commissioned to execute a number of monuments, the first of which was poorly received. As part of the memorial to the revolutionary Louis-Auguste Blanqui the Action enchaînée was erected at Puget-Théniers, Alpes-Maritimes, despite protests from municipal councillors that it was too extreme. In 1925 the town of Aix-en-Provence refused the memorial to Cézanne (stone; Paris, Mus. d'Orsay), which a committee of artists headed by Frantz Jourdain had commissioned in 1912. Maillol also sculpted several war memorials. Three bas-reliefs were designed in the form of a triptych for the town of Banyuls (1933); of those memorials in the Pyrénées-Orientales, the Douleur (1922) in Céret is less original, echoing La Méditerranée, while the figures at Elne (1921) and Port-Vendres (1923) are recognizable as draped versions of Pomona and the memorial to Cézanne. The latter, reassembled after a sketch model of c. 1900, was also to serve as a point of departure for Air (1939; stone), part of the Monument to Airmen at Toulouse. Maillol's work is widely distributed in the form of bronzes and lead casts. In 19645, 18 large bronzes were placed in the Jardins du Carrousel, Paris, thanks to the initiative of André Malraux and Dina Vierny, Maillol's last model. (Grove Art Online Accessed 2066-07-25)
Work Style Period:
Nabis (group of artists)
work_styleperiod
Nabis (group of artists)
Work Style Period
false
Work Style Period:
Modernist
work_styleperiod
Modernist
Work Style Period
false
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Subject:
women (female humans)
subject
women (female humans)
Work Subject
false
Work Subject:
figures
subject
figures
Work Subject
false
Work Subject:
nudes (representations)
subject
nudes (representations)
Work Subject
false
Work Worktype:
sculpture (visual works)
work_type
sculpture (visual works)
Work Worktype
false
Work Category (VRC classification):
sculptures and installations
work_category__ucbaahvrc_classification_
sculptures and installations
Work Category (VRC classification)
false
Work Material and Technique (display):
marble
Work Measurements (display):
93 cm (H) x 103 cm (W) x 25 cm (D)
Work Location (Repository or Site) name:
Musee d'Orsay
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
RF 3628
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
Paris, France
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
CU Copyright Statement:
The contents of the University of Colorado Digital Library are available for your use in research, teaching, and private study. Some of these items are protected by the U.S. Copyright Law (Title 17, U.S.C.) and some items may have additional restrictions. If you use the items in this collection, make sure you abide by any restrictions stated in the descriptive data window. The nature of these collections often makes it difficult to determine the copyright status of an item. We have made every effort to provide information about copyright owners and other restrictions in the descriptive data window. Ultimately, however, it is your responsibility to use the item according to the terms governing its use. If you are a copyright holder and the information is either not listed or listed incorrectly, please let us know so that we can update the information on our site.
Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see