A Fleur De Peau: Le moulage sur nature au xixe siecle Soft cover. RMN, 2001

A Fleur De Peau: Le moulage sur nature au xixe siecle Soft cover. RMN, 2001

This was published to accompany an exhibition which was held in four venues in Europe from 2001 to 2002. A usual process of the sculptor, a documentary piece or an emotional souvenir, life casting, through its almost perfect reproduction of reality, gave rise to lively controversy during the 19th century. At that time, every painter's or sculptor's studio exhibited, hung on its walls or lined up on a shelf, life castings used as permanent models. The accusation, whether well-founded or not, of life casting, the ultimate insult to the artist's creation, punctuated the history of sculpture in the second half of the 19th century. If the technique of casting joins the stakes of realism in sculpture, it also encroaches on the areas of representation and appropriation of the human body or its fragments, appropriations that scientific disciplines, or those considered as such at the time, did not fail to systematize during the 19th century for didactic purposes. Thus, for research and teaching, phrenologists, anthropologists, doctors, botanists, etc. make a large number of prints, perpetuating the only vocation that was then officially granted to the cast: the status of working document. By restoring the troubling reality of the disappeared model, the casts from life, in their marginality, their sensuality or their brutality, raise the question of pleasure, of the voyeuristic ambiguity of the artist or the scholar through the appropriation of the body of the other.

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