Seated Woman Bronze, Femme Assise a la Toiletter or Petite Baigneuse Assise

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About the Item

A recent show in 2023- 2024 of Richard Guino's work was a beautiful survey showing his work, and the work of Senior, are almost interchangeable. This exhibit in Perpignan France showed his sketches and drawings which were often studies for the sculpture, as the one shown here, as well as for further paintings. Richard Guino was born in Gerona Spain in 1880. He attended Fine Arts class at the Ecole des Beaux Arts in Barcelona. IN 1908 Maillol discovered him at a group exhibit in Gerona. He began to work with Maillol at his studio and collaborated int the develpment of the "Four Seasons". He then worked with Maurice Denis on 2 bas reliefs for the new theatre at the Champs Elysees. In 1913 he met with Vollard at the Druet Gallery in Paris, and Vollard, convinced of the great talent of Guino propsed him to Renoir as an assistant. A veritable osmosis was created between the two and Renoir began to choose the subjects, the people their gestures, and Guino modeled and molded the clay to create the sculptures. Together they produced some 20-30 sculptures. In 1918 Guino left the studio of Renoir and began to exhibit with Galerie Hebard in Paris where he had three exhibitions. The two dimensional works of Pierre Auguste Renoir are among the best known and best loved works in all art history. In museums or in coffee table art books much of the world is familiar with the sensual colors and forms of his paintings, drawings and lithographs. However, because of a series of unusual circumstances, the sculptures of Renoir are little known except by the experts. And though these experts generally regard the sculptures of Renoir are among the best examples of the classical French tradition, there are several reasons they are relatively unknown. One reason is that Renoir created very few sculptures, and the examples of these works are in the major museums in the world. Furthermore, the sculptures of Renoir have been surrounded in mystery since their creation some 70 years ago. Before 1918, Renoir had created only one sculpture (a small medallion depicting his young son, Coco), and by that time, a crippling rheumatism had reduced his hands to more than claws so he was completely unable to manipulate the raw material of sculpture in order to realize the visions which still richly filled his imagination. By a happy coincidence, Renoir’s dealer Vollard introduced him to a young Spanish sculptor, Richard Guino, who was considered by his mentor, Aristide Maillol, to be the most talented student of sculpture in Europe. For four years, Renoir and Guino lived together in Renoir’s home in Cagnes and Essoyes and discovered they had a collaboration that has been described as nothing short of miraculous. If was is if by osmosis the old mater’s visions flew through the air and lodged themselves in the brain, and heart, and most importantly the hands of the young Spanish genius. The resultant works are a marvelous bi-product of a collaboration perhaps unparalleled in the history of art. No one could see these fabulous bronzes and believe they were not from the mind of Renoir. Yet we are certain that the fingers of Renoir were so paralyzed as to have made their execution impossible for him. The mystery began after the collaboration ended in 1918-1918. Ambroise Vollard, perhaps feeling that the market place in those years would have difficulty comprehending the nature of the relationship between Renoir and Guino, totally suppressed the role of Guino in the creation of these works. Therefore, for many years, the only hint of a collaboration was the mention, almost parenthetically, of an unnamed “assistant” who helped Renoir with some of the more physically demanding aspects of the creation of his bronze sculptures. As Guino grew old and continued to sculpt, paint and draw in relative obscurity, certain champions, including his son Michael, beseeched him to attempt to set the record straight. Finally after being approached by Renoir’s heirs in the 1960s to allow certain molds which he had created some of these masterpieces decades before to be recast, Richard Guino realized that yet more of his collaborative work with Renoir was going to be presented to the world marketplace without his part in the creation being known, and he finally decided to seek to redress the scales. He sued the Renoir estate in 1969 and over the next 14 years, the French legal system analyzed the evidence from every angle, interviewed hundreds of current artists, sought evidence from personal recollections of the creative process, and read through correspondence related to those years. After a series of appeals were exhausted by the Renoir family, the decision stood: Richard Guino and Pierre Renoir were co-authors of the vast majority of that grouping of sculptures which had previously been recognized around the world as Renoir’s alone. The court also took note of the lack of control of the castings of some of the sculptures which had existed for some time, and ordered that the original molds be placed in the joint custody of the Renoir and Guino heirs for the creation of a final small group of castings, after which it ordered the original molds be given in perpetuity to national museums. Of course, the proceeds of this last group of castings was to go primarily to the Richard Guino estate. Guino himself had died in 1973. Currently there is a solo exhibition of the work of Richard Guino in Perpignan France. His work remains in the permanent collection of major Museums worldwide along side his collaborator August Renoir. Lynda Anderson Gallery has a large selection of his drawings, many of which are studies for sculptures to be executed by both Renoir and Guino as collaborative works of art.

Creator:
Richard Guino (1880 - 1973, French)
Creation Year:
1915
Dimensions:
Height: 8 in (20.32 cm)Width: 5 in (12.7 cm)Depth: 6 in (15.24 cm)
Medium:
Bronze
Movement & Style:
French School
Period:
1910-1919
Condition:
Gallery Location:
Brookville, NY
Reference Number:
1stDibs: LU1635213239822

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