Distributed for Scheidegger & Spiess
Maillol—A Different View
Explores the perceptions of the male artists’ gaze through Aristide Maillol’s sculpture.
French sculptor Aristide Maillol (1861–1944) is sometimes referred to as the “Cézanne of sculpture” as he, like Paul Cézanne in painting, paved the way for abstraction. Though Maillol began as a painter, he produced an impressive collection of sculptures, many featuring women, over the course of his career.
This book, published in conjunction with a comprehensive Maillol exhibition at the Kunsthaus Zürich, examines how the male gaze operates in Maillol’s art and the changing perceptions of this gaze from the nineteenth century to today. A photo essay by Franca Candrian contrasts Maillol’s Vénus au collier with works by modern and contemporary women artists from the Kunsthaus Zürich’s collection. An essay by feminist art historian and curator Catherine McCormack explores the presence of art depicting female nudes in contemporary museums. Supplemented by an introduction by Philippe Büttner, curator of Kunsthaus Zürich’s permanent collection, the book thus offers a fresh and unique view of Maillol and his art.
French sculptor Aristide Maillol (1861–1944) is sometimes referred to as the “Cézanne of sculpture” as he, like Paul Cézanne in painting, paved the way for abstraction. Though Maillol began as a painter, he produced an impressive collection of sculptures, many featuring women, over the course of his career.
This book, published in conjunction with a comprehensive Maillol exhibition at the Kunsthaus Zürich, examines how the male gaze operates in Maillol’s art and the changing perceptions of this gaze from the nineteenth century to today. A photo essay by Franca Candrian contrasts Maillol’s Vénus au collier with works by modern and contemporary women artists from the Kunsthaus Zürich’s collection. An essay by feminist art historian and curator Catherine McCormack explores the presence of art depicting female nudes in contemporary museums. Supplemented by an introduction by Philippe Büttner, curator of Kunsthaus Zürich’s permanent collection, the book thus offers a fresh and unique view of Maillol and his art.
