• L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
  • L'Éternel Printemps (Eternal Spring), 4th Reduction - Auguste Rodin, Bowman Sculpture Ltd
Click image to enlarge

L'Éternel Printemps (Eternal Spring), 4th Reduction

Auguste Rodin

(French, 1840-1917)

Signed Rodin
Inscribed F.Barbedienne, Fondeur.
Bronze with a rich dark brown patination
Height: 9 3.4" (24.7 cm)

Conceived in 1884. This example cast in December 1911


Conceived in 1884, this example was cast in 1911. Between sixty-three and sixty- nine casts of the present model were cast in this size by the Barbedienne foundry between 1898 and 1918. Rodin agreed a ten year contract for the Barbedienne foundry to produce an unlimited edition of the model in 1898. The foundry produced four sizes of this model, 66cm, 50cm, 40cm and 25cm.

Along with The Kiss, the present work was originally conceived to represent the tragic love Story of Paolo and Francesca, as told in Dante’s Inferno. Given the predominance of the front view of the work, it is possible the model was first intended to adorn The Gates of Hell. An image taken by Charles Bodmer in 1886, shows an early sketch for the work displayed in front of the frame for the Gates, perhaps lending weight to this hypothesis. Nevertheless, there is no documentary proof that Rodin ever intended the work to adorn his great portal.

The date of conception, 1884, does however tie in with the period in which Rodin’s relationship with Camille Claudel was blossoming and it has been suggested that perhaps the images of tenderly embracing lovers carried some autobiographical significance for the sculptor. Rodin himself cited the composer Beethoven as an influence, telling Jeanne Russell much later that ‘it was whilst listening to it for the first time (Beethoven’s Second Symphony) that I pictured Eternal Spring, just as I have modelled it since.’

It is also important to note that the torso of the woman was in fact taken from Rodin’s earlier work Torso of Adele, which he sculpted between 1878 and 1872. This work depicts the torso of Rodin’s favourite model Adèle Abbruzzesi, which is used without adjustment in the present work. Whatever provided the exact genesis for the two lovers, Eternal Spring went on to become an icon of romantic love and one of Rodin’s most well-known and certainly most commercially successful models.

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