| dc.coverage.spatial | Site: University of California, Los Angeles (UCLA) (Los Angeles, California, United States) | en_US |
| dc.coverage.temporal | 1948 (creation) | en_US |
| dc.creator | Laurens, Henri | en_US |
| dc.date | 1948 | en_US |
| dc.date.accessioned | 2013-01-29T19:49:02Z | |
| dc.date.available | 2013-01-29T19:49:02Z | |
| dc.date.issued | 1948 | en_US |
| dc.identifier | 189381 | en_US |
| dc.identifier.other | archrefid: 1796 | en_US |
| dc.identifier.uri | http://hdl.handle.net/1721.3/97917 | |
| dc.description | Three quarter view of the backside; In another sculpture, [Water Sprites (bronze, h. 800 mm, 1933; Paris, Pompidou)], he returned to one of his favourite subjects, that of the reclining nude supported on one arm, repeated here to give the effect of two successive waves and also calling to mind the nymphs or naiads sculpted on the edges of Baroque fountains. Like the series of Bathers painted by Picasso at Dinard in 1928-1929 or certain sculptures by Hans Arp, Laurens’s figures obey only an organic rhythm, which swells or lifts them, hollows or magnifies them in a joyful impulse. Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 6/12/2009) | en_US |
| dc.format.medium | bronze | en_US |
| dc.rights | © Scott Gilchrist, Archivision, Inc. | en_US |
| dc.subject | abstraction or non-objective | en_US |
| dc.subject | allegorical | en_US |
| dc.subject | figure, female | en_US |
| dc.subject | nymph | en_US |
| dc.subject | dryad | en_US |
| dc.subject | Twentieth century | en_US |
| dc.title | Automne | en_US |
| dc.title.alternative | Autumn | en_US |
| dc.type | image | en_US |
| dc.rights.access | Licensed for educational and research use by the MIT community only | en_US |
| dc.identifier.vendorcode | 6A1-LHE-A-A4 | en_US |
| vra.culturalContext | French | en_US |
| vra.technique | casting (process) | en_US |
| vra.worktype | sculpture (visual work) | en_US |
| dc.contributor.display | Henri Laurens (French sculptor, 1885-1954) | en_US |
