In the early twentieth century, sculptures of dancing women were produced in great numbers, inspired in part by the popularity of Isadora Duncan, Loie Fuller, and Anna Pavlova. Frishmuth often turned to dancers for her sculptural themes and employed them to pose for her with musical accompaniment. Shown stretching upward and outward in imitation of a living vine, this lyrical nude balances on tiptoe in the ecstasy of performance, a grapevine suspended in her hands. The first version of the work, a statuette eleven and a quarter inches high, was enormously popular, cast in an edition of 396. In 1923, Frishmuth enlarged the sculpture to monumental scale, using Desha Delteil of the Fokine Ballet as her model.
Marking: Foundry mark (left side of base): GORHAM CO. / FOUNDERS.
the artist, New York (1924–27; sold through Grand Central Art Galleries, New York to MMA)
New York World's Fair, New York City Pavilion. April 8, 1964–October 28, 1965.
Albert TenEyck Gardner. American Sculpture: A Catalogue of the Collection of The Metropolitan Museum of Art. New York, 1965, pp. 140–41.
Beatrice Gilman Proske. Brookgreen Gardens Sculpture. [Murrells Inlet, S. C.], 1968, p. 226.
Charles N. Aronson. Sculptured Hyacinths. New York, 1973, pp. 44–46, 127, 208, ill. (overall and detail).
Joan M. Marter inAmerican Sculpture in The Metropolitan Museum of Art. Ed. Thayer Tolles. Vol. 2, A Catalogue of Works by Artists Born between 1865 and 1885. New York and New Haven, 2001, pp. 642–43, no. 294, ill. (color).