Rhodia Dufet-Bourdelle has confirmed the authenticity of this work.
The sculpture of Emile Antoine Bourdelle displays a dramatic theatricality and expressive power that was rooted in the public monument convention of central Europe. His early academic training taught him to adhere to truth and purity of form. Working with Dalou and Auguste Rodin at the Ecole des Beaux-Arts in Paris he developed a sense of passion while maintaining his loyalty to classicism. Jean Cassou articulated this Style when he wrote: 'Bourdelle's art, then, is that of a classicist; his is a Latin mind that aims to see clearly; that of a perfect and accomplished workman who understands the laws that govern his material, the rules of his craft. But all this is swept up by a fiery vehemence, by an irresistible urge to use verbs -action words -to make his material say things with breadth of spirit and nobility' (Antoine Bourdelle (exhibition catalogue), Charles E. Slatkin Galleries, NewYork. 1961, p. 19).
The sitter for this monumental sculpture by Bourdelle was an Italian teenage girl, one of the artist's favorite models.
Peter Cannon-Brookes writes: 'The very firm, full forms of the young girl and the total innocence of the pose do not detract from the strong sense of structure and its rhythmic clarity. It is at this moment that the outward forms of Bourdelle and Maillol are at their closest, but the inner strength on which Bourdelle builds his forms is totally different from the static, contemplative mood sought by Maillol in his deliberate reduction of sculpture to two profiles only, as in primitive Greek sculpture.”
(P. Cannon-Brookes, op. cit, pp. 42 & 43).