The success of Aristide Maillol originates at the Salon d’Automne in 1905. He owes much to the German
critics and collectors who value his work internationally. The French artist is almost absent from the Italian
exhibitions and does not receive any particular attention from the critics and the press. However, he is wellknown
by the Italian sculptors thanks to the diffusion of illustrated art magazines and to personal experiences
of some in the French capital. At the end of the Twenties, a fundamental role is recognized to Maillol in the
classicist renovation of the arts in Italy.
