Null Jean OSOUF (1898-1996)
Coralie mask
Bronze with bronze patina
Signed "J. OS…
Description

Jean OSOUF (1898-1996) Coralie mask Bronze with bronze patina Signed "J. OSOUF Bears the founder's stamp "A. VALSUANI CIRE PERDUE Inscribed " E.A ". Height 23 cm, on a black marble base. 10 cm high Provenance: Jacques & Michèle GINEPRO Collection Related work : - Jean Osouf, Portrait de cCralie, jeune fille, circa 1940, patinated bronze, H. 32.3 x W. 17.5 x D. 19.1 cm, Reims, Musée des Beaux-arts, inv. 999.7.11. A member of the "Groupe des Neuf" along with Paul Cornet, Raymond Corbin and Marcel Damboise, among others, Jean Osouf was a self-taught artist. A bookseller and hero of the First World War, it was Aristide Maillol who convinced him of his talent for sculpture. Osouf attended the Scandinavian Academy, where he studied under Charles Despiau. After the 1937 World's Fair, where his statue L'Éveil (The Awakening) was well received by the critics, he embarked on a career as a sculptor influenced by medieval art. From 1935 to 1945, Jean Osouf created numerous works of his model Coralie. These busts and heads are an opportunity for the sculptor to study the girl's behavior and character with delicate veracity. Commenting on these female busts, art critic Waldemar George remarked: "Osouf's busts of young girls are reminiscent of the sinuous smile of the Angel of Rheims, that 'Vincian' smile avant la lettre, which is one of the emblems of French culture. Expert : Cabinet LACROIX & JEANNEST

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Jean OSOUF (1898-1996) Coralie mask Bronze with bronze patina Signed "J. OSOUF Bears the founder's stamp "A. VALSUANI CIRE PERDUE Inscribed " E.A ". Height 23 cm, on a black marble base. 10 cm high Provenance: Jacques & Michèle GINEPRO Collection Related work : - Jean Osouf, Portrait de cCralie, jeune fille, circa 1940, patinated bronze, H. 32.3 x W. 17.5 x D. 19.1 cm, Reims, Musée des Beaux-arts, inv. 999.7.11. A member of the "Groupe des Neuf" along with Paul Cornet, Raymond Corbin and Marcel Damboise, among others, Jean Osouf was a self-taught artist. A bookseller and hero of the First World War, it was Aristide Maillol who convinced him of his talent for sculpture. Osouf attended the Scandinavian Academy, where he studied under Charles Despiau. After the 1937 World's Fair, where his statue L'Éveil (The Awakening) was well received by the critics, he embarked on a career as a sculptor influenced by medieval art. From 1935 to 1945, Jean Osouf created numerous works of his model Coralie. These busts and heads are an opportunity for the sculptor to study the girl's behavior and character with delicate veracity. Commenting on these female busts, art critic Waldemar George remarked: "Osouf's busts of young girls are reminiscent of the sinuous smile of the Angel of Rheims, that 'Vincian' smile avant la lettre, which is one of the emblems of French culture. Expert : Cabinet LACROIX & JEANNEST

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Jean OSOUF (1898-1996) Baigneuse ou Etude de Coralie Épreuve en terre cuite Signée J. Osouf et numérotée 3/8. H. 45 cm Oeuvres en rapport : Jean Osouf, Petite baigneuse, 1938, bronze, H.47 x L. 13 x P. 7,3 cm, Paris, musée d'Art moderne, inv. AMS 217 ; Jean Osouf, Baigneuse, étude de Coralie, 1940, bronze, H. 31,5 x L.13 x P. 13 cm, Reims, musée des beaux-arts, inv. 999.7.3 ; Jean Osouf, Statuette nu Coralie, vers 1936, bronze, H. 49 x 12 x 10 cm, Reims, musée des beaux-arts, inv. 999.7.2 Membre du groupe des Neuf avec entre autres Paul Cornet, Raymond Corbin ou encore Marcel Damboise, Jean Osouf est un autodidacte. Libraire et héros de la Première Guerre mondiale, c'est Aristide Maillol qui le convainc de son talent pour la sculpture. Osouf suit alors les cours de l'Académie scandinave où il est élève de Charles Despiau. Après l'Exposition universelle de 1937 durant laquelle sa statue L'Éveil reçoit un bel hommage de la critique, il entreprend une véritable carrière de sculpteur influencé par l'art médiéval. De 1935 à 1945, Jean Osouf réalise de nombreuses oeuvres de son modèle Coralie. Ces bustes et têtes sont pour le sculpteur l'occasion d'étudier avec une délicate véracité le comportement et le caractère de la jeune fille. Au sujet de ces bustes féminins, le critique d'art Waldemar George remarque "Osouf retrouve dans ses bustes de jeunes filles le sinueux sourire de l'Ange de Reims, ce sourire 'vincien' avant la lettre qui est un des emblèmes de la culture française".