Henri Laurens, ‘Femme l'éventail  ’, 1919, BAILLY GALLERY
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Henri Laurens

Femme l'éventail , 1919

Bronze with black patina
11 × 24 × 10 3/5 in
28 × 61 × 27 cm
Edition of 6
.
Contact For Price
Location
Geneva, Paris
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About the work
Medium
Signature
Inscribed with the artist's monogram, numbered 5/6 and stamped with the foundry mark C. Valsuani Cire Perdue.
Manufacturer
C.Valsuani
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 l'éventail  ’, 1919, BAILLY GALLERY
Save
Save
Share
Share
About the work
Medium
Signature
Inscribed with the artist's monogram, numbered 5/6 and stamped with the foundry mark C. Valsuani Cire Perdue.
Manufacturer
C.Valsuani
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 l'éventail , 1919

Bronze with black patina
11 × 24 × 10 3/5 in
28 × 61 × 27 cm
Edition of 6
.
Contact For Price
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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