Sculptor or Chiseler?

PROPERTY RIGHTS

How much of a sculptor's skill lies in the dexterity of his hands, how much in the depths of his imagination? Those art-seminar questions are now the very practical concern of a Paris court. At issue are 32 works of sculpture that came out of the atelier of the great French impressionist painter Auguste Renoir shortly before his death half a century ago. In a suit seeking to win rights as "co-author," a Spanish-born sculptor named Richard Guino, 78, is arguing that his were the hands that really shaped the Renoir masterpieces.

No one disputes Guino's astonishing claim. In Paris in 1913, the 23-year-old Guino was asked to help Renoir work at his new interest -- sculpting. Crippled by rheumatism and a stroke, the ailing 72-year-old painter was barely able to hold a brush, let alone handle sculp tor's clay. So, under Renoir's strict and detailed supervision, the young Guino executed the artist's conceptions. The collaboration continued for four fruitful years, apparently to the satisfaction of both men. Renoir attached his name to the works; Guino settled for a small fee and an anonymous association with genius.

Special Bonus. Now white-thatched and ailing, Guino says that his belated suit grew out of "economic necessity and a desire for justice." Only the "exceptional relationship between two great artists," Guino's lawyer told the court, "made possible the miracle of Renoir-Guino sculpture." As recompense, he demanded nothing less than 50% of the royalties from all statue reproductions, past and future.

Defending Renoir's estate were his two sons, Cinema Director Jean (La Grande Illusion) and Ceramist Coco, and his grandson, Cameraman Claude. They contended that the Spaniard was merely a competent craftsman. "For there to be true co-authorship," argued the Renoirs' attorneys, "the law insists upon common inspiration and mutual control. Obviously in this case there was neither." Besides, the lawyers said, Guino has already received something of an added bonus--the family sponsored his career long after Renoir's death and even commissioned him to do a bust for the grave.

Artistic Critique. Despite the defense's attempt to portray Guino as more chiseler than sculptor, the three-man tribunal listened sympathetically to his case. With obvious admiration, Chief Judge Paul Mouzon studied two Guino statuettes displayed in court. And when the courtroom debate finally ended, he asked Paris Art Dealer Alfred Daber to spend up to six months studying the essential question: Do the disputed works bear Guino's "personal stamp, even a modest one," or can they be considered "as belonging entirely to Auguste Renoir in spite of Guino's skill and dexterity"? The final decision will presumably be based on Daber's artistic critique.

This file is automatically generated by a robot program, so reader's discretion is required.