8 - ÉMILE-ANTOINE BOURDELLE (Montauban, 1861 – Vésinet, 1929).

ÉMILE-ANTOINE BOURDELLE (Montauban, 1861 – Vésinet, 1929). “La force,” c. 1918. Bronze. Signed. Measurements: 37 cm (height). Exhibitions: “20th-Century European Sculpture,” European Museum of Modern Art (MEAM), Barcelona, 2014. Bourdelle oriented his style toward a formal and schematic refinement that brought him closer to avant-garde primitivism, influenced to a large extent by classical statuary and Romanesque sculpture. These stylistic aspects are evident in “La vierge à l’offrande,” a work that is both captivating and moving in equal measure. Émile-Antoine Bourdelle was one of the most prominent sculptors of the Belle Époque and exerted a significant influence on monumental sculpture. The son of a cabinetmaker, he began acquiring practical carving skills while still a child. After enrolling at the School of Fine Arts in Toulouse, he went on to study at the École Supérieure des Beaux-Arts in 1884 on a scholarship, where he was a student of Alexandre Falguière, Jules Dalou, and Jean-Baptiste Carpeaux. His work was heavily influenced by Auguste Rodin, whom he had met in Paris and for whom he worked as an assistant from 1893 to 1898. However, he later emerged as an independent artist. Bourdelle’s originality has sometimes been overshadowed by his relationship with Rodin, but his wide-reaching influence on younger sculptors, such as Alberto Giacometti, was significant. His works were inspired by Romanesque sculptors and those of Archaic Greece. Among his most famous works are *Hercules the Archer*, first exhibited in 1910; the reliefs on the facade of the Théâtre des Champs-Élysées in 1911 and the Théâtre de Marseille in 1924; the equestrian monument to General Alvear in Buenos Aires; and *The Dying Centaur* (1914).