Rodin_2011

4. Three studies inspired by Michelangelo’s Tombs of Julian and Lorenzo de Medici, Florence (Trois etudes d’aprés les tombeaux de Julien et Laurent de Medecis de Michel-Ange à Florence) February–March 187 6 Inscribed on the old mount: Trois dessins d’Auguste Rodin / ayant fait partie d’un ensemble certifié par André Schoeller (3.2.54) et provenant du sculpteur Alf. BOUCHER. Sous le sujet de droit (e se) trouvait la mention: … vole sur l (…)  a. Reclining Woman with Child, after Night, the Tomb of Julian de Medici; (Femme allongée avec un enfant, d’après La Nuit du tombeau de Julien de Médicis)  Ink on paper 2 1 ⁄ 8 x 3 ½ inches ( 5 . 5 x 9 cm)

b. Seated woman with children, after the figure of Lorenzo de Medici (Femme assise aux enfants d’après la figure de Laurent de Médicis) Ink on paper 1 5 ⁄ 8 x 3 3 ⁄ 8 inches ( 4 . 4 x 8 cm) c. Reclining Woman after “Dawn” of the tomb of Lorenzo de Medici ( Femme couchée d’après “L’Aurore” du tombeau de Laurent de Médicis) Ink on paper 2 ¾ x 1 ½ inches ( 7 . 2 x 4 cm)

provenance Removed by Rodin from Album II (now collection Musée Rodin) and given circa 1880 to Alfred Boucher ( 1850 – 1934 ); sale, Paris, Hotel Drôuot, November 15 , 1953 ; unknown Private Collection; sale, Paris, Piasa, December 2007 ; Private Collection. These three brown ink drawings can for the first time be connected to a recently discovered sheet of drawings (fig. 1 , overleaf) assembled by Rodin and given by him to his friend, the sculptor Alfred Boucher circa 1880 . This larger sheet only came to light in 2007 and is now in the collection of the Musée Rodin ( d9443 ). (Anonymous auction, Paris, Hotel Drôuot, November 15 , 1953 ; Jean Marc Delveaux sale, Paris, room 5 , # 115 , April 25 , 2007 ). Rodin liked to travel with numerous small sketchbooks which he would fill with drawings, thus creating carnets de voyages . He would then cut out the drawings and reassemble them, creating an album factise . Such was the case when Rodin went to Italy in February and March 187 6, 1 for the celebration of the fourth centenary anniversary of Michelangelo’s birth. A frequently cited letter, written in Florence to Rose Beuret, describes the strong influence of the Tomb of the Medici on the sculptor: All the photos I had seen of the plaster do not give any real idea of the San Lorenzo sacristy. One must see these tombs in profile, in three-quarter view. Once in front of it (the sacristy), one cannot analyze for the first time what one sees. You will not