Monument to Cézanne at the Jardin des Tuileries, Paris

In 1912 Maillol received a commission from Frantz Jourdain, the founder of the Salon d'Automne, and a group of friends of Paul Cézanne, for a monument to the master of Aix-en-Provence, who had died six years earlier. The committee was unable to solicit sufficient funds for the project, however, or agree on the details, and the outbreak of the First World War in 1914 put an end to their plans. Maillol, who regarded Cézanne as the genius of modern painting (quoted in J. Rewald, op. cit., p. 19), kept the idea alive, and returned to it following the end of the war in 1918.Maillol had already made several preparatory studies, in which he tried out and rejected several reclining poses, including those seen in many of the smaller bronzes that have since been cast, in which one leg is raised significantly higher than the other. By 1920 the sculptor had arrived at the definitive state for his Monument à Paul Cézanne: the legs of the recumbent girl are only slightly bent, and she presents in her raised hand an offering of olive branches (not included in this lead version). Maillol intended her to be seen as a bather, one of Cézanne's important subjects; she reclines on a flowing drapery, as if she were resting in the current of a river, a symbol of passing time. Her forms are classical, having been rendered in simple, unadorned volumes, in keeping with Cézanne's conception of form as Maillol understood it. The antique stylization of the girl's hair carried connotations of the ancient Roman origins of Provençal culture. Maillol drew on the sense of serenity and repose that he had instilled in this work, as well as the motif of the olive branch, when he undertook his tribute to the French war dead in the Monument de Port-Vendres, 1921-1923.The final version in stone was ready by 1925. Edouard Vuillard executed a large painting in 1931-1937 that shows Maillol at work on the Cézanne monument (Salomon and Cogeval, no. XI-120; fig. 1); he based this tribute to Maillol on a study that he made while the sculpture was in progress (no. XI-116; Musée d'Art Moderne de la Ville de Paris). Maillol had hoped that the citizens of Aix would place the sculpture by the fountain in their town square, believing that the setting and surrounding space were crucial to the harmony of his design. His plans fell through, however, and the town rejected the monument. Gaston Doumergue, the President of France, intervened, and had the state acquire the sculpture for the city of Paris. In October 1929 the stone version of the Monument à Paul Cézanne was finally installed, between the double ramps that lead to the terrace of the Orangerie in the Jardins des Tuileries gardens. A cast in lead replaced the stone sculpture in 1943; the latter is presently in the Musée d'Orsay, Paris. A bronze version from the present edition was installed in 1964 near the Carrousel in the Jardins des Tuileries, one of eighteen large sculptures that Dina Vierny donated to the French state. This object is part of Scan The World. Scan the World is a non-profit initiative introduced by MyMiniFactory, through which we are creating a digital archive of fully 3D printable sculptures, artworks and landmarks from across the globe for the public to access for free. Scan the World is an open source, community effort, if you have interesting items around you and would like to contribute, email [e-mail] to find out how you can help.1912年，马约尔（Maillol）接受了秋季沙龙（Salon d'Automne）创始人弗朗茨·茹尔丹（Frantz Jourdain）以及保罗·塞尚（Paul Cézanne）一众友人的委托，为这位六年前逝世的艾克斯普罗旺斯（Aix-en-Provence）大师创作一座纪念性雕塑。不过，该委员会既未能为该项目筹得足够资金，也未能就细节达成共识，而1914年第一次世界大战（First World War）的爆发则彻底终结了他们的计划。马约尔将塞尚视为现代绘画的天才（引自J·勒瓦尔《引文原书》，第19页），始终未曾放弃这一构想，并在1918年一战结束后重新着手创作。 马约尔此前已完成多幅预备草图，其间尝试并摒弃了多种卧姿造型，其中不少后续被铸造成小型青铜（bronze）作品，这类造型中人物的一条腿显著高于另一条。到1920年，这位雕塑家终于敲定了《保罗·塞尚纪念碑》（Monument à Paul Cézanne）的最终方案：卧躺少女的双腿仅微微弯曲，她抬起的手中捧着一束橄榄枝（该细节未体现在此铅铸版（lead version）中）。马约尔意图将少女塑造为沐浴者形象——这是塞尚创作的重要主题之一；她斜倚在飘逸的织物上，仿佛正休憩于河水流淌之间，这一造型象征着时光流逝。她的形体遵循古典范式，以简洁质朴的块面塑造而成，契合马约尔所理解的塞尚的形式理念。少女发型的古典化处理，暗合普罗旺斯文化的古罗马起源。马约尔在1921至1923年为法国阵亡将士创作的《旺德尔港纪念碑》（Monument de Port-Vendres）中，便借鉴了这件作品中静谧安宁的氛围与橄榄枝这一母题。 石材最终版于1925年完成。爱德华·维亚尔（Edouard Vuillard）在1931至1937年间创作了一幅大型画作，描绘马约尔正在创作这座塞尚纪念碑的场景（所罗门与科热瓦尔，编号XI-120；图1）；这幅向马约尔致敬的作品，其创作基础是维亚尔在雕塑制作期间完成的一幅写生稿（编号XI-116，巴黎市现代艺术博物馆藏）。马约尔曾希望艾克斯市民能将这座雕塑安置在当地广场的喷泉旁，他认为周遭环境与空间对于其设计的和谐性至关重要。然而他的计划最终落空，小镇拒绝了这座纪念碑。法国总统加斯东·杜梅格（Gaston Doumergue）出面干预，由国家将该雕塑收购赠予巴黎市。1929年10月，《保罗·塞尚纪念碑》（Monument à Paul Cézanne）的石材版本终于被安置在杜乐丽花园（Jardins des Tuileries）通往橘园美术馆露台的双坡道之间。1943年，一座铅铸复刻版取代了原石材雕塑，后者现收藏于巴黎奥赛博物馆（Musée d'Orsay）。1964年，本版复刻的青铜作品被安置在杜乐丽花园卡鲁索（Carrousel）附近，这是迪娜·维耶尔尼（Dina Vierny）捐赠给法国国家的18件大型雕塑作品之一。 本件作品隶属于“扫描世界”（Scan The World）项目。“扫描世界”是由MyMiniFactory发起的非营利性倡议，旨在打造一个可免费向公众开放的数字化档案库，收录全球各地可3D打印的雕塑、艺术品与地标建筑的完整三维模型。该项目为开源社区共建项目，若您身边有有趣的藏品并希望参与贡献，可发送邮件至[e-mail]了解参与方式。