
Not on display
- Artist
- Henri Laurens 1885–1954
- Original title
- L'Automne
- Medium
- Bronze
- Dimensions
- Object: 756 × 1743 × 650 mm
- Collection
- Tate
- Acquisition
- Purchased 1969
- Reference
- T01111
Display caption
‘I aspire to a ripeness of form’ Laurens said. ‘I should like to succeed in making it so full, so juicy that nothing could be added.’ This monumental figure is a luxuriant embodiment of nature. Although the title, Autumn, was only added after the work was completed, its bursting forms suggest the fruitfulness of the season. It is one of a number of sculptures Laurens made in the 1940s relating to the traditional odalisque or exotic, reclining female nude.
Gallery label, November 2011
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.
Catalogue entry
Henri Laurens 1885-1954
T01111 L'Automne (Autumn) 1948
Inscribed on upper surface of base '6/6', monogram 'HL' and founder's stamp 'CIRE | C. VALSUANI | PERDUE'
Bronze, 30 x 67 x 24 3/4 (76 x 172.5 x 63)
Purchased from the Galerie Louise Leiris (Special Grant-in-Aid) 1969
Prov:
Claude Laurens, Paris; with Galerie Louise Leiris, Paris
Exh:
Henri Laurens: Monumental Sculpture, Marlborough-Gerson Gallery, New York, November-December 1966 (17, repr.); HenriLaurens 1895-1954, Hayward Gallery, London, May-June 1971 (79, repr.); Ulster Museum, Belfast, July-August 1971 (79, repr.)
Repr:
Burlington Magazine, XCIII, 1951, p.236 (the plaster); Werner Hofmann and Daniel-Henry Kahnweiler, The Sculpture of Henri Laurens
(New York 1970), pp.204-6
Laurens made a number of sculptures of nude female figures in the late 1930s and 1940s with such titles as 'Morning', 'Night', 'Dawn' and 'Summer'. The title 'Autumn' given to this one was probably suggested mainly by the ripe, luxuriant fullness of the forms, and by the impression that the figure is basking in the sun. The artist's son Claude Laurens writes that, except in very special cases, the sculptures were not titled until they were finished, and then this was done according to whatever the work suggested to his father at that time. He does not think that Laurens deliberately set out to make the hair look like leaves, though this unintentional resemblance may have helped to give him the idea of choosing this title (letter of 3 April 1973).
There are altogether eight bronze casts of this work, an edition of six, an artist's cast and an extra cast marked 'M.N.' made for presentation to the Musee National d'Art Moderne in Paris as part of the Laurens Gift. One cast (1/6) is now in the Kunstmuseum in Basle, one (3/6) in the Nationalgalerie in Berlin and another (4/6) in the Stedelijk Museum in Amsterdam.
It was preceded by a small version 50cm long which is very similar in form but sketchier.
Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.410-11, reproduced p.411
You might like
-
Alexandre Jacovleff Recumbent Model
c.1933–8 -
Maurice Lambert Homo Sapiens
1937 -
Maurice Lambert Head of a Woman
exhibited 1938 -
Antoine Pevsner Maquette of a Monument Symbolising the Liberation of the Spirit
1952 -
Jean Fautrier Reclining Woman IV
c.1942, published c.1960–4 -
Man Ray Pisces
1938 -
Henri Laurens Bather (Fragment)
1931, ?later cast -
François Stahly Growth
1963 -
Hans Bellmer The Doll
1936, reconstructed 1965 -
Jean Hélion Nude with Loaves
1952 -
Jean Fautrier Large Tragic Head
1942 -
Germaine Richier Diabolo
1950, cast 1994 -
Jean Dubuffet The Tree of Fluids
1950 -
André Fougeron Martyred Spain
1937 -
Balthus (Balthasar Klossowski de Rola) Nude on a Chaise Longue
1950