Henri Laurens, ‘Femme couchée de dos’, 1921, BAILLY GALLERY
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Henri Laurens

Femme couchée de dos, 1921

Bronze
5 1/2 × 15 2/5 in
14 × 39 cm
€52,000
Location
Geneva, Paris
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About the work
BAILLY GALLERY
Geneva, Paris

Numbered 7/8 on the reverse

Medium
Signature
Quentin Laurens, the holder of Droit Moral, has kindly confirmed that this work is registered in his archive.
Henri Laurens
French, 1885–1954
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Henri Laurens began his career creating wood and polychrome plaster sculptures, drawing on the tenets of Cubism and adopting such typically Cubist subjects as dissected human figures, guitars, and still lifes. For instance, Clown (1915), which drew on Pablo Picassos’s assemblages, consists of juxtaposed spheres, cones, and cylinders. As his career progressed, Laurens shifted toward subtler low-relief terracottas, eventually forsaking his fragmented geometric style in favor of a more natural, curvilinear one. He became known for highly abstract, rhythmic female nudes, often reclining or bathing, made from stone or bronze. Works such as La Grande Sirène (1945) and Amphion (1952) reinterpret themes from Greco-Roman mythology; Laurens approached his sculptures with a vague notion of how they should look, but increasingly succumbed to subconscious inspiration. Besides sculpting, he was also prolific in collage, printmaking, and illustration.

Henri Laurens, ‘Femme couchée de dos’, 1921, BAILLY GALLERY
Save
Save
View
View in room
Share
Share
About the work
BAILLY GALLERY
Geneva, Paris

Numbered 7/8 on the reverse

Medium
Signature
Quentin Laurens, the holder of Droit Moral, has kindly confirmed that this work is registered in his archive.
Henri Laurens
French, 1885–1954
Follow

Henri Laurens began his career creating wood and polychrome plaster sculptures, drawing on the tenets of Cubism and adopting such typically Cubist subjects as dissected human figures, guitars, and still lifes. For instance, Clown (1915), which drew on Pablo Picassos’s assemblages, consists of juxtaposed spheres, cones, and cylinders. As his career progressed, Laurens shifted toward subtler low-relief terracottas, eventually forsaking his fragmented geometric style in favor of a more natural, curvilinear one. He became known for highly abstract, rhythmic female nudes, often reclining or bathing, made from stone or bronze. Works such as La Grande Sirène (1945) and Amphion (1952) reinterpret themes from Greco-Roman mythology; Laurens approached his sculptures with a vague notion of how they should look, but increasingly succumbed to subconscious inspiration. Besides sculpting, he was also prolific in collage, printmaking, and illustration.

Henri Laurens

Femme couchée de dos, 1921

Bronze
5 1/2 × 15 2/5 in
14 × 39 cm
€52,000
Location
Geneva, Paris
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
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