French Sculpture Census

© artiste : Fair Use (Section 107, Copyright Act, 1976)

Paris 1885 - Paris 1954

Femme à la draperie
Draped Female Figure

vers 1929

H. 71,75
monogrammé à l'avant gauche de la base : HL

N° d'inv. : 60.239
Credit Line : Decorative Art Special Fund

Boston, Massachusetts, Museum of Fine Arts


  • avant 1960, Paris, Paul D. Nelson
  • 1960, 14 avril, Paris, vendu par Nelson au MFA, Decorative Art Special Fund


  • Museum's website, 16 February 2012 and 20 March 2012

Oeuvres en rapport

Bronze, numéroté 5/6, 1928, Londres, Sotheby's, 3 février 2004, Estate of Nelly and Werner Bär.


Impressionist & Modern Art, London, February 3, 2004, Sotheby's, p. 42:
Draped Female Figure presents one of Laurens' favourite subjects of an elegant female nude, that he treated in several versions throughout his "oeuvre". A figure of remarkable grace and beauty, this work is regarded as the high point of Laurens' art of the 1920s. Daniel-Henry Kahnweiler who was Laurens' dealer from 1921, recalled: "The appearance of curvilinear forms in Laurens' work in no way signalled a renunciation of Cubism but was part of a normal evolution towards a new orientation" (D.-H. Kahnweiler, "Recollections of Henri Laurens", in Werner Hofmann, The sculpture of Henri Laurens, New York, 1970, p. 49). Draped Female Figure presents a culmination of the artist's experimentations with Cubism over the previous years, whilst at the same time announcing a new phase of a return to Classicism. The sharp outlines and angular forms of the sculpture, recalling earlier Cubist works, are softened here by newly discovered Classicist tendencies. Christopher Green pointed out that "the distillation of Cubism was habitually made the complement of the ideal of Classicism" (C. Green, Cubism and Its Enemies: Modern Movements and Reaction in French Art, 1916-1928, New Haven, 1987, p. 37).