Enfin, la multitude de sculptures en topiaires, fruits dethe two concrete sculptures Deux Pigeons (image 1) measuring each la relation fusionnelle des Lalanne avec la nature, sontmore than 26 ft high, and shortly after in 1974 the Tête monumen- également source des chefs d’oeuvres du CEDEP. Entale (image 2), several meters high, for the Jean Vilar High School of 1983, pour la mairie de Paris, le couple crée la promenadethe same city. According to Daniel Marchesseau, the ‘smooth skinned végétale et le jardin des enfants des Halles (avec desand commanding gaze of the Tête monumentale, an image of culture Elephants topiaires), ainsi que la fontaine de l’Hôtel dewith a human eye, symbol of Knowledge and Truth’, offers an early Ville avec deux sphères recouvertes de lierres à chaqueesthetic parallel with the universal purity of La Science and La Loi extrémité, similaires à celles qui se trouvent dans le parcat the CEDEP.Amongst the Plein-Air masterpieces ordered by the du CEDEP (image 6). Plusieurs sculptures animales enthe CEDEP, the Grand Centaure (image 7) of 1985 is a highlight. Commissioned by the architects of the French Embassy in New Delhi, topiaires, avec une fois de plus des Eléphants de F.-X.this monumental bronze project on an adjourned pedestal is an artis- pour le lycée français de Los Angeles en 1986, et lestic highlight which offers many similarities both in content and form with the three sculptures at the CEDEP park: the mythical sculpture, the monumental sculpture, and the Humanist esthetic program. The first co-signed sculpture by the Lalanne couple, the Grand Centaure anticipates the mythical theme combining the Human and the Ani- mal, which is further achieved in the Abduction of Europa (Claude’s first monumental sculpture made without electroplating). This centaure hold in his left harm a large compass, an attribute of Science, and humanist symbol by excellence with Greek origins which was later used during the Italian Renaissance. For La Science, François-Xavier develops theses symbols using the sphere, incarnation of the World, while the left hand rests on a column, a link between Earth and Heaven, a symbol of stability, longevity, which suggest the academic, enlightened and nevertheless innovative approach of François-Xavier’s allegorical sculptures for the Education Center in Fontainebleau. Other influences are to be found amongst the works 14 commissioned by the CEDEP. Noah’s Dovefrom 1978 (images 3 and 4), the first ‘statuary’ sculpture according to François-Xavier’s words, that is including an 8 meter pedestal, reinforces in a solemn and symbolic way the dove’s peace message and creates for first occurence of an assumed pedestal which reappear in La Science and La Loi. In the 2000’s, Paul Kasmin’s photographies of the Lalanne atelier in Ury (image 5) also capture this group of little sculptures mounted on a concrete plinth with a slanted base, which are miniature versions si- 5. Hibou et plusieurs autres sculptures de F.-X. Lalanne milar in every aspect to the plinths used in Science and Law. Finally, sur des piédéstaux en béton conçus par l’artiste a number of topiary sculptures, artistic proofs of the Lalanne’s insepe- rable bond to Nature, are also sources of the CEDEP masterpieces. In 1983, for the city of Paris, the couple created a vegetal promenade as well as the Children’s Garden of Les Halles (with topiary elephants), as well as the Paris City Hall fountain with two ivy-covered spheres, which are the same examples as the ones used in the CEDEP park (image 6). Several plant-covered animal sculptures, among which the elephants of the French High School of Los Angeles in 1986, or the dinosaure fountains made conjointly with Claude in 1989 for the city of Santa Monica, confirm the interest of the couple for vegetal art. For the CEDEP park, the Lalanne created two topiary spheres, an arch and an hemicycle covered with ivy (image 6), an invitation to wander and meditate, along with the commissioned works La Science, La Loi and L’Enlèvement d’Europe. An anecdote known by the CEDEP employees mentions that after François-Xavier death in 2008, Claude stopped groundskeepers who were cleaning the surfaces of Science and Law covered with moss and lichen, arguing that the organic coating was part of the work. The 1990 CEDEP sculptures are the last important outdoor commission for the Lalanne couple, and constituted in this aspect a highlight in François-Xavier and Claude’s career, blending all the aspects of their art. 6. Arche et Sphère Topiaire F.-X. Lalanne UAELBENIATNOF À ENNALAL SED TERCES NIDRAJ EL1202 ERBOTCO 3 EHCNAMID