COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1959.49
amicoid
DMA_.1959.49
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Mabe, Manabu
crn
Mabe, Manabu
Creator Name
false
Creator Dates/Places:
Brazilian, born 1924
cdt
Brazilian, born 1924
Creator Dates/Places
false
Creator Name-CRT:
Manabu Mabe
crt
Manabu Mabe
Creator Name-CRT
false
Title:
Sakuhin
otn
Sakuhin
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1959
oct
1959
Creation Date
false
Creation Start Date:
1959
ocs
1959
Creation Start Date
false
Creation End Date:
1959
oce
1959
Creation End Date
false
Materials and Techniques:
Oil on composition board
omd
Oil on composition board
Materials and Techniques
false
Dimensions:
Overall: 48 x 55 in. (121.92 x 139.7 cm.)
met
Overall: 48 x 55 in. (121.92 x 139.7 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1959.49
ooa
1959.49
ID Number
false
Credit Line:
Dallas Museum of Art, Dallas Art Association Purchase
ooc
Dallas Museum of Art, Dallas Art Association Purchase
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
Aristide Maillol began his career as a painter and tapestry designer working in the decorative style of the Nabis, a group of artists inspired by the simplicity of line, flat patterning, and expressive color theory of Paul Gauguin's work in Brittany. By the latter half of the 1890s, however, the intricacy of Maillol's tapestry work was threatening his eyesight, and he turned entirely to sculpture.At the turn of the century, Auguste Rodin's highly naturalistic and emotionally charged work was the dominant force in the revival of sculpture. While undoubtedly inspired to observe nature by Rodin's example, Maillol was primarily concerned with a classical purity of line and form. This emphasis is readily apparent in "Flora," where the figure's graceful pose, emotional tranquility, and clinging, translucent drapery recall ancient statuary. Typical of Maillol's idealized female figures, "Flora" fuses the serenity and monumental presence of the classical tradition with the immediacy and vitality of a naturalistic depiction. "Flora," however, is no mere pastiche of styles and vocabulary. The symbolic significance of "Flora" - an embodiment of the bounty of nature - finds direct expression in the figure's full, rounded torso and sturdy limbs. By balancing real, human characteristics with eternal, idealized forms, Maillol dynamically reinvented the classical tradition with a modern sensibility."Dallas Museum of Art: A Guide to the Collection," page 118
cxd
Aristide Maillol began his career as a painter and tapestry designer working in the decorative style of the Nabis, a group of artists inspired by the simplicity of line, flat patterning, and expressive color theory of Paul Gauguin's work in Brittany. By the latter half of the 1890s, however, the intricacy of Maillol's tapestry work was threatening his eyesight, and he turned entirely to sculpture.At the turn of the century, Auguste Rodin's highly naturalistic and emotionally charged work was the dominant force in the revival of sculpture. While undoubtedly inspired to observe nature by Rodin's example, Maillol was primarily concerned with a classical purity of line and form. This emphasis is readily apparent in "Flora," where the figure's graceful pose, emotional tranquility, and clinging, translucent drapery recall ancient statuary. Typical of Maillol's idealized female figures, "Flora" fuses the serenity and monumental presence of the classical tradition with the immediacy and vitality of a naturalistic depiction. "Flora," however, is no mere pastiche of styles and vocabulary. The symbolic significance of "Flora" - an embodiment of the bounty of nature - finds direct expression in the figure's full, rounded torso and sturdy limbs. By balancing real, human characteristics with eternal, idealized forms, Maillol dynamically reinvented the classical tradition with a modern sensibility."Dallas Museum of Art: A Guide to the Collection," page 118
Context
false
Related Image Identifier Link:
DMA_.1959_49.tif
ril
DMA_.1959_49.tif
Related Image Identifier Link
false