By Luciano Migliaccio
In 1778, Voltaire left his refuge in Ferney, Switzerland for Paris, where he was commended at the Comédie Française. On this occasion, he reluctantly agreed to sit for Houdon. By request of the organization’s officials, Houdon sculpted the famous bust of the philosopher clad in ancient Roman garments. After that, to attend countless commissions, the artist produced numerous replicas of his work, with variations. Voltaire is draped in ancient Roman attire, sometimes with a wig and the fashions of the time. In another version the model’s facial features are depicted more realistically, showing signs of advancing age and encroaching baldness. Voltaire must have preferred this latter version of his bust, which he kept at his home in Ferney. After his death, the sculpture was bequeathed to one of his nieces, Mme. Dompierre d’Hornoy or Mme. Denis. Nathan Wildenstein, founder of the famous dynasty of antiquarians in Paris, purchased this marble from one of Mrs. Denis’ heirs, Mr. de Vandeul. At the turn of the century, Nathan’s son, Georges, himself an antiquarian and well-known connoisseur of 16th-century art, sold Eduardo Guinle the bust later donated to the Masp by Guinle’s son, Guilherme. Rodin’s comment on a bust of Voltaire’s busts, in Paris, is worth quoting: “What a wondrous thing! It is the personification of astuteness. The slightly slanted eyes seem to be peering at an adversary. The pointed nose resembles that of a fox – as if it were sniffing out abuse and ridicule; you can see it quivering. And his mouth – what a masterpiece! It is framed by two ironic furrows, apparently muttering a sarcastic commentary. A shrewd and loquacious old man – this is the impression produced by this Voltaire that seems at the same time so lively but also so unhealthy and so little masculine” (L’art, p. 97.).

— Luciano Migliaccio, 1998

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