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拍品专文
Auguste Rodin’s Iris, messagère des dieux stands out as one of his most daring and visceral sculptures, evolving from his studies for a monument to Victor Hugo. Originally conceived as a winged figure symbolizing the connection between creative genius and sensuality, Iris underwent a dramatic transformation when Rodin stripped away its wings, head, and left arm, presenting the figure in an explicit and confrontational manner. Henri Lebossé, who worked for Rodin and enlarged Iris in 1894, referred to it as Study of a Woman with Legs Apart, foregrounding its eroticism. The raw energy and unorthodox posture reflect Rodin’s fascination with movement and unconventional poses, an interest well documented in his numerous sketches. Some scholars have even drawn comparisons between Iris and the movements of cancan dancers, suggesting that these performances may have influenced the dynamic, acrobatic positioning of the figure.
The fragmented yet powerful composition of Iris aligns with Rodin’s broader approach to sculpture, where incomplete forms conveyed a sense of “pathos,” as described by Aristide Maillol, highlighting Rodin’s ability to capture the essence of movement and feeling into this work. Some art historians believe that Iris may have been inspired by Gustave Courbet’s Origine du monde, a similarly audacious portrayal of female sexuality, which Rodin may have encountered through his connection with Edmond de Goncourt. Notably, a comparable cast of Iris resides in The Metropolitan Museum of Art, New York, underscoring the sculpture’s significance within major institutional collections. Despite its controversial reception—while its provocative force captivated critics like Gustave Geffroy, its bold eroticism led institutions like the Museum of Fine Arts in Boston to deem it too risqué for exhibition—Iris, messagère des dieux, étude sans tête, petit modèle remains an extraordinary testament to Rodin’s mastery in pushing the artistic boundaries of the human form and its expressive potential.
The fragmented yet powerful composition of Iris aligns with Rodin’s broader approach to sculpture, where incomplete forms conveyed a sense of “pathos,” as described by Aristide Maillol, highlighting Rodin’s ability to capture the essence of movement and feeling into this work. Some art historians believe that Iris may have been inspired by Gustave Courbet’s Origine du monde, a similarly audacious portrayal of female sexuality, which Rodin may have encountered through his connection with Edmond de Goncourt. Notably, a comparable cast of Iris resides in The Metropolitan Museum of Art, New York, underscoring the sculpture’s significance within major institutional collections. Despite its controversial reception—while its provocative force captivated critics like Gustave Geffroy, its bold eroticism led institutions like the Museum of Fine Arts in Boston to deem it too risqué for exhibition—Iris, messagère des dieux, étude sans tête, petit modèle remains an extraordinary testament to Rodin’s mastery in pushing the artistic boundaries of the human form and its expressive potential.