Antoine BOURDELLE / Signed Autograph Letter / Beethoven / Drawing / Sculptures

  

Bourdelle" [to André Fontainas] Paris, November 1928 [actually written on December 25], 4 pp. In-4° Some corrections and erasures, in Bourdelle's hand Former repair of a tear with adhesive tape on the second leaf Small marginal loss without affecting the text.

Long unpublished letter from the artist discussing his works and his career, on the sidelines of the largest retrospective dedicated to him during his lifetime, at the Palais des Beaux-Arts in Brussels. He enriches his letter with an original drawing representing one of his busts of Beethoven. "My very dear and great friend. I read your book [My memories of symbolism, La Nouvelle revue critique, 1928] in one go, which is essential. I have known most of the poets.

I spoke to Verlaine once. [Bourdelle then gives his opinion on contemporary and recently deceased poets] My dear friend - I believe you will be happy to conclude your conference about my work in Brussels - on the first or second day, after seeing this whole new assembly.

It had not been given to me, first, to see the order, the calm assembly of the whole. Almost all of it because there is about half of my work there with the minds - of the art critics of the country - so enthusiastic that they make inevitable mistakes. One believes that my capital work in my will is Beethoven.

And well dear friend - The two Beethovens that are there - are the result: One the one at the Luxembourg - and which is in a larger format but the same model in Brussels - is a work, of an hour quite at my beginnings. The second one with the big hair is which forms a mass with its base is also an improvisation.

[Bourdelle enriches his statement with an original ink drawing of Beethoven's head on its base] The higher Beethoven much higher that I unfortunately only have the photo of was destroyed by two students!!!!! Idiots or scoundrels both no doubt. And I could not start it again for lack of easy and free life alas! Furthermore, there are PREPARATIONS of whole figures of a Beethoven = not finished because time was lacking for me - but that I do not give up + here are also details that no one [else] than you knows for the moment in Belgium. As for the few pastels and paintings = exhibition that matters little to me - whose activity belongs to the hard profession of Architect-sculptor because all the architecture is mine - all. A word would still be good to establish in passing that my work as a painter is not gathered in Brussels. I have in my possession in a heap of houses and families more than two hundred large portraits painted or in pastel. Because in a harsh career I must leave 10 years at least the sculpture contracting rheumatism in the hands in the trade of sculptor to return to it twice invincibly when sculpture gave me misery - and that my immersions in illustration for the Goupil house and in pastel portraits brought me a wide ease.

My frescoes of the Champs Elysées are not known there, while T'Serstevens wrote and he is not the only one, that he considers these frescoes as the decorative peak of France since the death of [Pierre Puvis] de Chavannes. But taken in the mass of articles published the success of the whole works is fantastic, unexpected for me. I love calm and grace, but I am pushed by bread to earn to carry out the orders - I have never launched myself into the hurricane of the epic. Let's think friend about the workshop tools, paying the rent, the apartment.

We will see all of this one day. The studies done to my liking. My hardest works are slowly lining up in battle and some will precede us in Belgium or follow us.

Have you read the articles? Daudet, that this morning November 23 by Le Goffic, in the small parisian. Finally dear friend I finish my long letter written in a scattered way. Alas, I have the mourning and death of the painter friend Mathieu Verdilhan [who died on December 15, 1928] The view everywhere on the light was a divine heart that boy and a pure talent.

I had been able to take him out of the shadows he lived 7 to 8 years happy, loved. But one less friend is a little less dawn in the heart. To all of you Yours Ant. Bourdelle [He adds, on the margin of the first page] Dear friend The best way to find me would be from 4 p. 18 impasse du Maine We would be happy if you come for lunch or dinner, after letting us know by phone so that I can avoid my spartan diet without salt without meat Brrr!!!

In 1928, Bourdelle is celebrated as one of the greatest sculptors of his time, and the retrospective at the Palais des Beaux-Arts in Brussels dedicated to him that year (3 November 1928 - 3 January 1929) allows to fully grasp his work. His Beethovens, mentioned here, undoubtedly remain, alongside Herakles archer, the most famous of his prolific work.

His first sculptures depicting the composer were sketched as early as 1888, from which many variants were produced. He opts for purity, rigor of forms. Bourdelle becomes one of the precursors of monumental sculpture in the 20th century that will arouse admiration, especially that of Auguste Rodin. His work is considered the embodiment of an aesthetic break, an alternative to the avant-gardes of the time and will have a decisive influence on the generations of artists who will follow him.

He retains the poetry column until his death. His friendship with Bourdelle began in 1921. He publishes the first book dedicated to the artist, simply titled Bourdelle, published by Rieder in 1930.

Complete scan of the document available on request.