Style Other / Ref.15665

Unique Ensemble : Statue of Marguerite on her Ornate Pedestal "Mephistopheles," after the Salon des Artistes Français of 1872

The story of Faust, set during the Renaissance, has been told by many authors, the most famous of whom remains Goethe. Faust makes a pact, offering his soul to Mephistopheles, a prominent demon in German folklore, in exchange for renewed youth and happiness.

When Faust becomes enamored with Marguerite, he seeks help from Mephistopheles, who comments about the young woman: “This one! She’s just come from her confessor, who absolved her of all her sins. I was right there, hidden next to her. She's entirely innocent; she confesses for the slightest thing—I have no hold over her."

Our Marguerite is the creation of sculptor and goldsmith Emile André Boisseau (1842–1923). Trained by Dumont and Bonnassieux at the École des Beaux-Arts in Paris, he exhibited at the Salon des Artistes Français from 1865 to 1914. The first record of "Marguerite After Her Fall" appears precisely at the 1872 Salon, where Boisseau presented the subject in plaster, glimpsed in a photograph of the sculpture gallery from that exhibition. In 1872, the artist also produced bronze versions of Marguerite, one of which is currently part of the collections at the Mobilier National.

The marble statue stands atop an exquisite pedestal that continues the story of Faust. Marguerite's innocence is beautifully captured through the purity of Carrara marble. Boisseau represents her with braided hair adorned with her namesake flower, known for its whiteness, to further emphasize her youthful purity.

Emile Boisseau chose to portray the young woman with graceful, delicate features, her head bowed and hands clasped holding a rose, highlighting her internal struggle between Christian modesty and her desire for Faust following their kiss in the garden scene. Indeed, Faust's physical absence in our sculpture further amplifies his invisible presence. We can almost perceive his arm around Marguerite’s shoulders, burdened by the turmoil in her heart, reminiscent of Cesare Fantacchiotti’s statue of Faust and Marguerite circa 1900.

As previously mentioned, Faust’s presence is symbolically conveyed through the column supporting the statue, distinguishing this sculpture from all other depictions of Marguerite. This pedestal is lavishly decorated with various marbles, including Verde di Mare, Violet Calacatta, and Red Griotte.

Upon closer inspection of this elegant interplay of stones, you discover a figure lurking in the shadows of a cartouche at Marguerite's feet: it is Mephistopheles! This excellently crafted bronze is remarkably consistent with Emile Boisseau’s other works, making it highly probable that it was executed by the sculptor himself. Boisseau skillfully contrasts the dark bronze with luminous Carrara marble, employing high-relief technique to nearly push the demon’s head out of its frame, intensifying his role as the sinister mediator, malicious and cunning. Meanwhile, Marguerite is presented entirely exposed on a silver platter—or rather, atop a marble column. She is thus offered to the hidden gaze of Mephistopheles, who indirectly represents Faust, as his companion and tempter, closely resembling a doppelgänger. Eugène Delacroix notably portrayed Faust and the demon similarly in his illustrations, underscoring the character's blurred identity with the demon to whom he sold his soul.

Here, we present a fully realized and unique work by Boisseau. The marble, signed "E Boisseau" and based on the plaster exhibited at the 1872 Salon, is elevated by its elaborate pedestal, creating a compelling dialogue between the innocent Marguerite and the cunning Mephistopheles. Boisseau crafted an indivisible ensemble, with both elements perfectly complementing each other in style and narrative.