{"id":10691,"date":"2025-03-22T15:34:50","date_gmt":"2025-03-22T14:34:50","guid":{"rendered":"https:\/\/www.galerienicolasbourriaud.com\/produit\/jeune-femme-de-profil-probablement-ceres-1877-1890\/"},"modified":"2025-03-22T15:41:35","modified_gmt":"2025-03-22T14:41:35","slug":"jeune-femme-de-profil-probablement-ceres-1877-1890","status":"publish","type":"product","link":"https:\/\/www.galerienicolasbourriaud.com\/en\/produit\/jeune-femme-de-profil-probablement-ceres-1877-1890\/","title":{"rendered":"YOUNG WOMAN IN PROFILE (PROBABLY CERES) (1877-1890)"},"content":{"rendered":"

In addition to the ethnographic sculptures for which he is renowned, Cordier produced numerous medallions throughout his career, such as M.B<\/em>. (bronze medallion, no. 3271) and Mme B.<\/em> (bronze medallion, no. 3273) at the 1850 Salon as well as, on his mission to Italy and Greece of 1858-1859: Femme de l’Acarmanie, Femme grecque, un Palikare grec, <\/em>etc. As Th\u00e9ophile Gautier wrote in the Moniteur Universel<\/em> of January 13, 1865, about M. Cordier, \u201cThere is no less variety in the medallions, which reproduce with extreme charm various samples of exotic female beauty, including a type of woman from the Morvan, [\u2026.] \u00a0All these medallions are curiously framed in carved oak borders; for M. Cordier is a careful artist, who leaves no detail to chance.\u201d<\/p>\n

So it is hardly surprising to have recently rediscovered this imposing terracotta medallion in its original polychrome frame, surmounted across its full width by an ear of corn. It depicts the head of a young woman crowned with flowers, her natural hair escaping from the top of her headdress. Stylistically very similar to two other medallions already known to exist in a private collection (New York), it may complement a cycle representing the Four Seasons; this is only a possibility, as the iconography of the two medallions in question is hypothetical, one representing Flora <\/em>and the other Zephyr.<\/em> If these were the Four Seasons, our medallion might represent Summer\/Ceres<\/em>, the second Spring\/Flora,<\/em> the third Autumn\/Bacchus<\/em>, and a fourth would be missing, an old man for Winter. As Laure de Margerie points out, it is difficult to associate the Zephyr medallion with Autumn\/Bacchus<\/em>, as the latter has a wing on his head and is identified as Zephyr. Nevertheless, we can imagine that these three medallions formed a decorative ensemble that remains incomplete and unidentified to this day. Our original terracotta is a new discovery in the sculptor’s oeuvre. According to the catalogue raisonn\u00e9, the two known medallions date from Cordier’s Nice period and could be dated, without certainty, to around 1877-1890. Leaving Paris at the end of the Second Empire, Cordier first settled in Nice, then, from 1890 onwards, in Algiers, where he ended his life.<\/p>\n

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Charles CORDIER<\/span><\/h1>\n

Original terracotta sculpture signed \u201cC Cordier\u201d forming a medallion
\nH. 31 \u00bc\u201d x L. 28 \u00bc\u201d x D.15 \u00bc\u201d
\nCirca 1877-1890
\nIn its original frame.<\/p>\n

Related works: Flore et Z\u00e9phyr<\/em> (?), two terracotta reliefs, in painted plaster frames, circa 1877-1890 (?), New York, Private Collection.<\/p>\n

Manuscript source: Mus\u00e9e d’Orsay Documentation Center, Charles Cordier<\/em>, Bibliography file-boxes.<\/p>\n

Bibliography: Laure de Margerie and Edouard Papet, eds., 1827-1905,<\/em> Charles Cordier, l’autre et l’ailleurs<\/em>, exhibition catalog, Paris, Mus\u00e9e d’Orsay, February 2 – May 2, 2004; Quebec City, Mus\u00e9e national des Beaux-Arts du Qu\u00e9bec, June 10 – September 6, 2004; New York, Dahesh Museum of Art, October 12, 2004 – January 9, 2005, catalogue raisonn\u00e9, page 170.<\/p>\n

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