Sculptors' Drawings. Rodin. Maillol. Despiau

  • Sculptors' Drawings. Rodin. Maillol. Despiau
    Sculptors' Drawings. Rodin. Maillol. Despiau
  • Sculptors' Drawings. Rodin. Maillol. Despiau
    Sculptors' Drawings. Rodin. Maillol. Despiau
  • Sculptors' Drawings. Rodin. Maillol. Despiau
    Sculptors' Drawings. Rodin. Maillol. Despiau
  • Sculptors' Drawings. Rodin. Maillol. Despiau
    Sculptors' Drawings. Rodin. Maillol. Despiau
  • Sculptors' Drawings. Rodin. Maillol. Despiau
    Sculptors' Drawings. Rodin. Maillol. Despiau
  • Sculptors' Drawings. Rodin. Maillol. Despiau
    Sculptors' Drawings. Rodin. Maillol. Despiau
  • Sculptors' Drawings. Rodin. Maillol. Despiau
    Sculptors' Drawings. Rodin. Maillol. Despiau

A new exhibition at the IN ARTIBUS foundation reveals the working process of the three most important French sculptors of the early 20th century — Auguste Rodin, Aristide Maillol and Charles Despiau. The exhibition will include about 70 graphic works and a small sculpture from the collection of Inna Bazhenova.

Drawings of sculptors are traditionally considered an auxiliary product of the creative process, a kind of "backstage" of the artist. The exhibition in the IN ARTIBUS foundation uses the example of three contemporaries and compatriots: Auguste Rodin (1840-1917), Aristide Maillol (1861-1944), and Charles Despiau (1874-1946), in order to show that sculptors' drawings are an independent field of art, worthy of reverential attention.

"The sculptor's drawing differs from the easel drawing and from the "painter's drawing". Sculpture is a three-dimensional art, and the drawing is two-dimensional. It is interesting to observe how the sculptor seeks the shape of a figure, varies it by turning the model as it finds its graphic embodiment, and how he draws — in a specifically modelling way as to preserve the balance between the illusion of space and the form, which he wants to be immersed in this space", says Elena Rudenko, curator of the exhibition.

The selection of works presented gives an interesting opportunity to "look at the backstage" but not so much at that of sculptors, but at that of the collector Inna Bazhenova.

"In my collection there are many examples of referencing surface and volume (from the traditional Chinese gonshi stone and its picture in a 16th century scroll, to the recognizable works of Henry Moore), as this topic has always fascinated me. For the exhibition we have sel ected works of famous seemingly "obvious" artists united by time, country and even the school, and the display will show how they are different, that it is not all that easy with their drawings, and how interesting the whole thing is, sometimes even more interesting than sculpture", says Inna Bazhenova, founder of the IN ARTIBUS.

Lyricist Rodin, intuitionist Maillol and analyst Despiau, united by one time and space, were familiar with each other, their mutual influence being noticeable. The famous master Rodin highly appreciated the sculpture of Maillol, and the young Despiau worked in his studio. In particular, the famous portrait of Varvara Eliseeva fr om the State Hermitage Museum is performed not by Rodin alone. The portrait was executed by Despiau, who often tranferred the works of the master into the marble. "I knew that you would do a good thing", Rodin said after seeing the finished bust, "but I did not think it would be so beautiful."

The exhibition "Drawings of sculptors" gives a rare opportunity to see a series of 50 drawings by Aristide Maillol performed in a few days of 1916. The audience will also be interested in the works of Charles Despiau, which are rarely seen in the displays of Russian museums. In the words of Auguste Rodin, who saw relatively young and unknown Despiau's "Paulette" at the exhibition of 1907, "it's a work to be appreciated by the experts" — and the same is going to be the exhibition in the IN ARTIBUS foundation.

in artibus foundation