museumuesum:

Jean Fautrier
Tête d’otage (Head of a Hostage), 1943-1944

lead and slate, 540 x 295 x 310 mm 
Head of a Hostage is both the last in Jean Fautrier’s Hostage series of 1943-5 and the last sculpture that he made. This example in lead is one of an edition of four bronze and two lead casts. It is inscribed ‘Fautrier’ and ‘3/6’ and is stamped with the Valsuani mark, the foundry used by Fautrier for casting the majority of his sculptures. It is believed that the edition was completed before the artist’s death in 1964. The other lead cast is in the collection of the Musée de l’Ile de France, Château de Sceaux, Sceaux.
Fautrier was part of a Resistance circle of writers, poets, and artists in Paris during World War II. In January 1943 he was arrested by the Nazis because of this affiliation. He was released upon the intervention of the German sculptor Arno Breker and withdrew to Châtenay-Malabray, a mental asylum in the suburbs of Paris. The writer Jean Paulhan arranged for him to have a studio space in the sanatorium and, while there, Fautrier produced his most famous series of paintings and sculptures, known collectively as the Hostages (‘Otages’). The Nazis used the forest surrounding the clinic to torture and execute prisoners and, although their actions were out of sight, the screams of the victims could be heard by those in residence. This harrowing experience is reflected in Fautrier’s works. The manipulation of the material of Head of a Hostage, with its layered and scored surfaces, lends the appearance of mutilated flesh to the truncated form. Despite this apparent formlessness, a delicate profile is drawn out of the mass, just as occurs in a number of the paintings of the series. In this way, Fautrier combined elements of figuration and abstraction, conveying both the individuality of the hostages and the amorphous quality of anonymous bodies found in mass graves.
The Hostage series was first exhibited at the Galerie René Drouin, Paris, in 1945. The paintings were hung closely in rows, an arrangement which suggested an association with mass executions. The stark portrayal of recent horrors, and the works’ combination of beauty and aggression, made viewers uncomfortable. The poet Francis Ponge described the Hostages as ‘tumified faces, crushed profiles, bodies stiffened by execution, dismembered, mutilated, eaten by flies’ (quoted in Paris Post War, p.89). André Malraux, the politician, critic and writer, in his essay for the exhibition catalogue, traced a link between the sculptures and the paintings. He singled out Head of a Hostage as central to the series: ‘The Hostage which is the key to all the others is the large hostage sculpture. Rather than coming from Fautrier’s paintings, these figures come from his sculpture. From his sculpture which has found, through torture, what it had sought for a long time in vain: a means of incarnation.’ Such a view was redemptive and Malraux went on to claim that Fautrier had created in his Hostages series ‘the most beautiful monument to the dead of the Second World War’ (quoted in Jean Fautrier, p.222).
tvpartyorchestra:

sin título by ✞ Young Prism ✞ on Flickr.