Time Flies (1895)

Édouard Joseph Dantan: Time Flies

A Restoration (1891)

Édouard Dantan: A Restoration

Dantan was especially drawn to painting the interiors of the artist's studio. His father, Antoine-Laurent Dantan, was a well-known and acclaimed sculptor and would have involved him in his studio practice and, consequently, fostered an ambition for Edouard to develop his own. He would go on to document the professional artistic landscape of the late nineteenth century and is most celebrated for his paintings of working studios and exhibition spaces. His submissions to the Paris Salon in 1880 (L'Atelier de mon père), 1887 (Un moulage sur nature) and in 1891 (Une restauration, the present lot) depicted the interiors of an artist's studio. Of these, Une restauration shows Dantan at his very best through the virtuosity of paint handling, attention to detail, complexity of compositional arrangement and relative monumentality. It would later be exhibited at Chicago's Columbian World's Exposition in 1893.

There is a longstanding tradition of presenting the artist's studio as either allegory or anecdote. Masterpieces like Diego Velazquez's Las Meninas (1656), which later influenced Gustave Courbet's The Artist's Studio (1855), set important precedents that Dantan, and  innumerable other artists, would draw from. The Salon jury would have been especially receptive to this subject, and because his 1880 submission was well-received and much talked about, Dantan would have been prompted to submit more of the same genre.

Immediately evident in this painting is the tremendous attention to detail, as Dantan is careful to convey a vision of the artists' studio while he is in the act of creation. Marble is prized for its malleability and skin-like translucency but remains an extremely unforgiving medium given that it is a subtractive process. One foul blow of the mallet or careless placement of the chisel could spell ruin for a masterpiece.

The sculpture is likely based on Antoine Houdon's masterpiece, La frileuse (1787), which is an allegory for winter and translates to a woman who is susceptible to the cold. As in many of his works, Dantan maintains a sense of humor and play of irony. Here, the artist's fully clothed sculpture is an exaggeration of Houdon's half naked Frileuse, and while the bare branches seen through the window indicate winter, his bared model shows no susceptibility to the cold.

In the present work, Dantan's artist is chiseling at the drapery of his subject which is carefully propped on a series of wood blocks so that his area of occupation is at eye level and close to his body. Chisels and spatulas are carefully hung and ordered under shelves that house studies and maquettes, as well as incomplete works and broken fragments. Friezes hang on the walls and earthenware vessels and woven baskets sit on the floor. Interestingly, and a sign of Dantan's ambition, there are two light sources implied in the artist's bright studio. The window shown diffuses light that illuminates the model from behind, and the drapery that she is enveloped in seems to glow. The surfaces of each object are given an extreme amount of consideration, and the result is an artistic tour de force. [Sotheby’s]

The Sculptor's Studio (1887)

Édouard Joseph Dantan: The Sculptor's Studio

A Casting From Life (1887)

Édouard Joseph Dantan: A Casting From Life

Édouard Joseph Dantan’s naturalistic painting A Casting From Life depicts the moment when a painter and his assistant remove the plaster negative from the leg of a female nude. Dantan’s painting thematizes the technological creation of a perfect human representation according to a classical aesthetic of elegance and beauty. Not without blatant gender implications, it narrates the positive story of a media negative, the plaster cast. However, this snapshot from an artist’s studio ultimately withholds the final aesthetic product for which the cast was made (if it is not the female nude or the painting itself), so that the story the painting tells offers viewers the  hope but not the certainty that the technological process glorified by the image will eventually generate an exceptionally beautiful naturalistic artwork. [A. Dana Weber, “Vivifying the Uncanny,” in Fact and Fiction: Literary and Scientific Cultures in Germany and Britain, ed. Christine Lehleiter, University of Toronto Press, 2016, p. 309]

My Father’s Studio (1881)

Edouard Joseph Dantan: My Father’s Studio

Edouard-Joseph Dantan was the son of the renowned French sculptor Antoine-Laurent Dantan and nephew to Jean-Pierre Dantan also a sculptor and celebrated for his portraits and caricatures of his contemporaries. Growing up among these two great men, Dantan gained an intimate understanding of both the demands and pleasures of the artist's life. It is this first-hand, nuanced experience that informs the present My Father's Studio, the second version of the artist's Salon submission of 1880. The original, titled Un Coin D'Atelier, was so well-received that it was quickly acquired by the French State for the Musée du Luxembourg (and now hangs in the Sénat), with the demand for further versions soon apparent. In both compositions, Dantan shows his father in his Saint-Cloud studio absorbed in the restoration of his bas-relief of The Drunkenness of Silenus. Antoine-Laurent first completed a terracotta version of The Drunkeness of Silenus for the Prix de Rome in 1831, followed by the marble carving exhibited at the Salon of 1868. [Gandalf’s Gallery]

Coin d'Atelier (1880)

Edouard Dantan: Coin d'Atelier

The Discus Thrower (1876)

Edouard Dantan: The Discus Thrower