RODIN Auguste, 1840–1917 - Lot 73

RODIN Auguste, 1840–1917 Eternal Spring Second version, 3rd reduction Bronze group with a richly nuanced double patina, F. BARBEDIENNE, CASTING ARTIST. On the right side of the mound: Rodin. On the bottom of the terrace, the foundry mark. Below, the letters VL and H stamped flush. H: 39.4 cm - W: 49.3 cm - D: 30.6 cm Designed in 1894, this reduced-scale version in 1898, this bronze proof between 1905 and 1910. A letter of inclusion in the critical catalog of the sculptor’s work by the Auguste Rodin Committee will be provided to the buyer. Condition report available upon request. Provenance: French collection, acquired in the early 1980s. Bibliography: - Antoinette Le Normand-Romain, Rodin et le bronze, catalog of works held at the Rodin Museum, vol. I, Rodin Museum, Paris, 2007, a similar model described and reproduced on p. 334. - Rainer Crone, Siegfried Salzmann, Rodin, Eros and Creativity, Prestel, Munich, 1997, plate 13 for the marble sculpture held at the Rodin Museum. - Monique Laurent, Rodin, Chêne Hachette, 1989, pp. 90–91 for the bronze in the Rodin Museum. - John L. Tancock, The Sculpture of Auguste Rodin: The Collection of the Rodin Museum, Philadelphia, Philadelphia Museum of Art, 1976, a similar bronze model described and reproduced under no. 32b, pp. 241–243. The Eternal Spring is probably Rodin’s most famous work alongside The Thinker. The date 1884 is often cited, and the terracotta group appears in a photograph of the studio dated 1886 in front of the Gate. Inspired by Dante’s Paolo and Francesca, the sculpture here evokes a happy love that clashes with the theme of Hell. The group created was completely modified for the Gate, but Rodin retained the original version, which continues to exist independently. It is from this genesis that The Eternal Spring inherits its frontal perspective. “Zephyr and the Earth,” then “Cupid and Psyche,” “Youth” and “Ideal”: the work bore many titles before settling on its definitive name, The Eternal Spring. This reflects not only the work’s success but also Rodin’s ability to depict a universal emotion. The X-shaped composition chosen by Rodin perfectly captures the lovers’ exaltation. It creates a sense of instability and dynamism that matches the passion inhabiting the bodies depicted. One can see a connection here to the beginning of the passionate romantic relationship between the master and his student, Camille Claudel. Originally, the couple was to appear suspended in flight within the larger composition of The Gates of Hell. The terrace was kept to a minimum, and the rock did not exist. These elements were added to reinforce the unity of the group. The original poses and voluptuous postures stem from the freedom Rodin granted his models in the studio. The female figure is taken from an earlier work, the Torso of Adèle, likely created around 1880. It is a sensual fragmentary work whose twist and arch are perfectly suited to its new role in The Eternal Spring. As was his custom, Rodin drew inspiration from his earlier works and reshaped the modeled bodies at will, like a capricious demiurge. An exquisite sensuality emanates from these bodies, which seem at once violently drawn to one another and already destined to part. From the voracious passion of the group I Am Beautiful (1882) to the more internalized sentiment of The Kiss (1886), we have here an evocation of fiery love. While eroticism is a major and constant theme in Rodin’s work, it is often tragic and painful. The Eternal Spring is the sculptural embodiment of a joyful passion, and it is in this respect that it stands out in the sculptor’s oeuvre. Rodin’s expressive genius succeeded in creating a timeless image of love in this carnal embrace.