Manuel Martinez Hugué dit MANOLO (1872 - 1945)
Woman Drying Herself, 1923

Terra cotta proof
Edition of 15 copies
Not signed
Label from the Louise Leiris Gallery
H. 28.5; W. 13.5; D. 7 cm


- Manuel Martinez Hugué, dit Manolo, Sculptures, gouaches, dessins, Paris, galerie Louise Leiris, 17 mai – 17 juin 1961, n°63, repr.
Montserrat Blanch, Manolo, Sculptures, Peintures, Dessins, Editions Cercle d’Art, Paris, 1974, n°459, p. 244, repr.
Manolo Hugué Escultura, Pintura y Dijubo, Madrid, Centro Cultural del Conde Duque, janvier – février 1997, n°18, p. 34, repr.


The Woman Drying Herself can be compared to another of Manolo’s sculptures, titled Torso, which he made either right before or right after the Woman Drying Herself. Manolo used a marcottage[1] technique to move from one model to the other. In 1923, he made an edition of fifteen terra cotta proofs of both the Woman Drying Herself and Torso. Manolo’s mastery of his art truly flowered during this time in which he created various figures in clay that forcefully affirmed his extremely individual style. He experimented with extended compositions, taking parts of the human body almost to the point of synthetic geometry. The rhythm of their movement verges on exaggeration but nonetheless retains its spontaneous and truthful character. One only has to compare Woman Drying Herself with Seated Torso (1923, terra cotta) to sense the unity of Manolo’s formal interests. He continued these in Seated Woman (1929-1930, terra cotta) and Toreodor with a Muleta (1939-1940, bronze proof).

[1] Marcottage is a process in which a sculptor creates a new work by reusing either part or all of one or more of his earlier sculptures. The artist breaks up his own works and reintroduces them in the new work. (Ministry of Culture and Communication, General inventory of monuments and artistic wealth of France, Sculpture: Principles of scientific analysis, method, and vocabulary. Paris, National Printers, 1978).