THE LION

Historical and artistic context

This powerful marble sculpture by renowned French animalier sculptor Prosper Lecourtier represents a roaring lion poised atop a rugged rock. The contrast between the beast’s polished musculature and the rough texture of the base enhances the sense of primal tension. Carved in white Carrara marble, every sinew and muscle is defined with anatomical precision, capturing a moment of dynamic strength and alertness.

The base—crafted from red-veined marble—was intentionally left in its natural, unrefined state. Its irregular surface evokes the raw essence of nature and underscores the sculptor’s deliberate contrast between control and chaos: the lion’s power versus the unpredictable terrain. Only the bottom portion is polished, establishing a visual and tactile balance that guides the viewer’s attention.

This sculpture is especially rare within Lecourtier’s oeuvre. Known primarily for his bronze works, he turned to marble only occasionally, applying a distinct set of technical skills. The present piece, dating from 1907, was exhibited at the Paris Salon that year, affirming its significance in the artist’s career.

The lion’s stance—low to the ground, head thrust forward, mouth open mid-roar—conveys both tension and royal authority. This study of dynamic realism illustrates Lecourtier’s deep understanding of animal anatomy and expressive behavior. The remarkably detailed mane, powerful paws, and snarling jaw speak to his mastery of the subject.

Signed “P. Lecourtier,” this sculpture exemplifies turn-of-the-century French artistry. It marries the finesse of marble carving with the expressive force typically associated with bronze, making it a rare and valuable testament to the artist’s technical versatility and creative ambition.

Literature

• BENEZIT, E. Dictionnaire des peintres, sculpteurs, dessinateurs et Gravures. Paris : Librairie Gründ, 1961. Tome 5. p. 469.

• KJELLBERG, P. Les Bronzes du XIXe Siècle, Dictionnaire des sculpteurs. Paris : Les éditions de l’amateur, 1989. p. 419-421.