Nénette 1923

Charles Despiau made this head, ‘Nénette’, from plaster, probably sometime in the first half of the twentieth century. You know, plaster is such an immediate material, it really holds the trace of the hand. There’s a directness here, an almost sketch-like quality, even though it’s a fully realized sculpture. I love how Despiau lets the surface show the history of its making. It’s not smoothed over or disguised at all. You can see the marks and the way he’s built up the form. There are tiny scratches and rough patches. The back of the head almost looks unfinished. And the base looks so roughly hewn! This rawness gives the piece a sense of vitality. It feels more like a living thing, like a study or a maquette, than a cold, classical bust. This reminds me of Medardo Rosso, who aimed for a similar kind of immediacy. He also was interested in the unfinished quality in sculpture. Both artists demonstrate how the process of making can be just as important as the final form.