Jules Dalou

Seated Nude Taking off her Stocking

c.1875–80, cast 1965

Not on display

Jules Dalou 1838–1902
Original title
Femme nue assise dans un fauteuil et retirant son bas
Object: 184 × 156 × 190 mm
Presented by Miss Nadia Nerina through the Friends of the Tate Gallery 1966

Display caption

The French sculptor Jules Dalou fled to London in 1871 when he was implicated for his part in the Paris Commune. The painter Alphonse Legros, a fellow refugee, helped him obtain a job teaching clay-modelling at the National Art Training School in South Kensington, now the Royal College of Art. Not speaking English well, Dalou taught by demonstration. He was highly influential among younger British sculptors and he achieved considerable critical success in this country with the sculptures of intimate domestic subjects which he showned at the Royal Academy.
Dalou returned to France in 1880 and this seated nude dates from the later part of his career there.

Gallery label, August 2004

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Catalogue entry

Jules Dalou 1838–1902

T00825 Nue Sssise Retirant son bas (Seated Nude taking off her Stocking) c. 1878–80

Inscr. ‘Dalou/Makers/H. J. Hatfield & Son/London/2/6’ at centre of base at back.
Bronze, 7 3/16 x 6¿ x 7½ (18.25 x 15.5 x 19).
Presented hy Miss Nadia Nerina through the Friends of the Tate Gallery 1966.

One of six numbered casts made in 1965 from an unsigned tinted plaster in the collection of Miss Nadia Nerina. The plaster, which she bought from the Dalou exhibition at Mallets in April-May 1964 (21 repr.), was cast after a terracotta now in the collection of the Petit Palais, Paris. It is thought that Dalou executed the original during his stay in England (1871–80). Henriette Cailloux in Aime-Jules Dalou (Paris, 1935) writes ‘… [Dalou], exiled in England and having to earn a living, sacrificed himself to the public’s taste for Baigneuses. These always found admirers; he excelled in this delicate but secondary genre which he thought not quite worthy of himself …

‘It seems that Dalou’s sculpture began to grow supple and to enlarge at the end of his stay in England, perhaps as a result of his journey to Flanders, during which he had so admired Rubens. La femme nue lisant dans un fauteil... reveals a considerable relaxation in the design, a forgetfulness of the traditions of the school and a contempt for conventions. These tendencies are still stronger in several Femmes retirant leur bas ... in which the investigation of movement is emphasised ...’ (p. 103).

Published in The Tate Gallery Report 1965–1966, London 1967.

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