Meditate with Aimé-Jules Dalou (1838-1902)

The look lost in the water where her image is reflected, the young woman seems to hesitate. Undreten, she is preparing to dive into the fresh wave for a regenerative bath. We are far from the fascination of the ancient narcissus which contemplated its image with pride in the water mirror until you get lost.

But, the knees raised and the arms folded, the woman is still a moment dressed in herself, of this body which, the rest of the time, exposes it to the world by helping it stand up, to walk, to work, to fight, to love. And to pretend.

By leaving the habit which gives it a place in society – a poor or rich aristocrat servant? -, it finds the primary identity which is common to us. That of the first biblical garden where our ancestors accused in a nudity where nothing was offense.

The Parisian sculptor Jules Dalou makes this modest share of our existence, preserved despite many injuries, celebrated. Perhaps the Protestant and Republican sensitivity of its family origins naturally gave it the measure? Unless it is the bodies that surround him on a daily basis who taught him this right distance? That of his wife, Irma, a woman with a strong character but also her unwavering support, throughout her existence?

Or the one marked by the mental handicap of their only daughter Georgette, who was 32 years old when her father sculpta this baigneur? A large part of the works of the artist’s workshop will also be bequeathed to his death, three years later, at the orphanage who will host Georgette, in order to provide for his care.

By taking up the classic theme of the “Baigneuse”, born in the artists’ salons a century earlier, Dalou of course pays homage to his masters. But it especially honors the congenital fragility of our lives. Presentations. Fearful. And full of grace.