+ ALL CITY OF PARIS MUSEUMS

Discover all 14 City of Paris museums

» Fermer
Georges Clairin - Portrait of Sarah Bernhardt
Armand Point - Peacock Casket
Camille Alaphilippe - Woman with Monkey
Aristide  Maillol - Seated female nude with her left hand on her head. Study for The Mediterranean
Louis-Robert Carrier-Belleuse - The Struggle for Life vase
Léon  Lhermitte - Les Halles
Fernand Pelez - The Death of Emperor Commodus
Pierre-Auguste Renoir - Ambroise Vollard in a Red Scarf
Jean Carriès - My Portrait
Emile Gallé - Two-handled vase
Georges-Henri Lemaire - Silence or Immortality
Charles-Alexandre Giron - Woman wearing gloves, also known as The Parisienne
Paul Sérusier - Tricoteuse au bas rose
Pierre-Auguste  Renoir - Portrait of Madame de Bonnières
Berthe Morisot - Jeune fille en décolleté - La fleur aux cheveux
Pierre Bonnard - Conversation à Arcachon
Pierre-Adrien Dalpayrat - Dish : The judgment of Paris
Joseph-Marius Avy  - Bal blanc
Marie Constantine Bashkirtseff - Parisienne, Portrait of Irma
Maurice Denis - Female bathers at Perros-Guirec
Fernand Pelez - La Vachalcade
Alfred Sisley - The Church at Moret (Evening)
Théophile Alexandre Steinlen - Ball on the 14th of July
Edmond  Aman-Jean - Miss Ella Carmichaël

Aetas Aurea (The Golden Age)

Medardo
Rosso
Turin (Italie), 1858 - Milan (Italie), 1928
1885
Wax
60 x 37 x 25 cm

An Italian sculptor who came to Paris to work in 1884 and settled there in 1889, frequenting Rodin and Carrière, Medardo Rosso was a most unusual artist. He was unusual in his taste for wax, in his choice of subjects and in his treatment of surfaces.

He is the only sculptor to be connected with Impressionism as his work conveys the notion of something glimpsed indistinctly. Post 1906, he struggled to find a new approach in his work.
This strange piece is thought to represent the artist’s wife embracing their young son. The technical execution is typical of Rosso’s work: he poured liquid wax into the hollow of a plaster mould, doubtless created from a clay original. The wax shell thus formed was reinforced with plaster and a metal stem added so that it could be hung vertically, as Rosso intended it to be viewed. The marks of workmanship such as seams and drips are deliberately left visible, which was a highly innovative approach for the period.
The scene is difficult to read and is a long way from realism. The light plays on the transparencies and relief in the wax, thus giving the impression of an ephemeral fragment snatched from life, a moment of genuine happiness.

Inventory number: 
Inv. PPS00910
Inventory number : Inv. PPS00910
Acquisition details : Bought from the artist, 1908
Room 18. Moreau and Symbolism
Paris 1900
Roll your mouse over the exhibit to view detail.
Previous
40 / 53
Next