(photo : Michael Desprez, "Critiqué, ignoré... l’histoire agitée du Lion de Bartholdi",
L'Est Républicain, 2020
https://www.estrepublicain.fr/culture-loisirs/2020/07/23/l-histoire-agitee-du-lion-de-bartholdi)
Bartholdi chose to represent the Lion of Belfort in a reclining and majestic position. The artistic choice of the pose and the character of the animal reflect the resilience and patience demonstrated by the inhabitants of Belfort during the siege. The animal appears aged, mature, and weary from the battles fought, yet remains victorious and dignified. This tranquility and majesty can also be explained by the original project, which envisioned the sculpture placed in a site of reflection.
The plastic treatment of the animal reveals meticulous studies. Indeed, Bartholdi had the opportunity to observe numerous representations of sphinxes during his travels in Egypt. This supports the hypothesis of Egyptian sphinx influence on the Lion of Belfort.
An analysis of the lexical field used in press articles describing the Lion reveals frequent use of terms such as “Colossal,” “Enormous,” “Majestic,” and “Grandiose.” The original scale of Bartholdi’s work thus evokes the grandeur of his ambitions, in harmony with those of the early Third Republic. Armand Dayot, Inspector General of Fine Arts, declared: “Bartholdi’s work is considerable; for a mind so broadly open to the highest aspirations, expressions were needed that could serve as giant symbols of his dreams.”
Despite this public recognition, due to a dispute between the municipality and the sculptor, the Lion did not receive an official inauguration, only a simple gathering of the people of Belfort and Bartholdi in August 1880. Ultimately, classified as a historical monument in 1931, the Lion of Belfort was officially inaugurated in 1981.