Barry Flanagan: Playing with Bronze

About the exhibition


For this season’s art exhibition, Hotel du Cap-Eden-Roc proudly welcomes three major sculptural works by the late British artist Barry Flanagan.

Renowned for his bronze animal figures, in particular his leaping hare series, Flanagan brought a playful lightness and dynamism to his monumental works that has left a lasting impact on the world of sculpture.

Represented by Galerie von Bartha, Barry Flanagan’s sculptures echo the timeless beauty of the hotel’s serene grounds, offering a truly unique perspective from which to view the renowned artist’s work.

About the artist

Barry Flanagan was a British sculptor, draftsman, and printmaker who trained at Saint-Martin’s School of Art in London. After early experiments with diverse materials, he turned to bronze in the 1970s, developing a singular language that drew on animal symbolism, movement, and an understated sense of mischief.

For this exhibition, three emblematic works have been selected to capture the energy and elegance that define Flanagan’s practice. Set within the hotel’s landscape, these sculptures invite a deep encounter with the artist’s world, one marked by form, play and poetry.

The Cricketer – 1989

Positioned at the entrance of Les Deux Fontaines, The Cricketer reflects Barry Flanagan’s enduring affection for the game of cricket. The hare, poised mid-action, combines fluidity with quiet precision, raising one paw in a nod to the legendary cricketer Bob Willis. Imbued with energy, this sculpture captures the spirit of youth and determination.

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Large Left-Handed Drummer – 2006

Set along the Grand Allée, Large Left-Handed Drummer captures a moment of pure rhythm and reverie. Inspired by a medieval drawing, the hare appears ready to strike his hand drum, animated yet composed, as if attuned to the soft cadence of summer. Lightness, movement, and a sense of timeless joy come into gentle harmony with this work.

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Large Monument – 1996

Located at the entrance to Hotel du Cap, Large Monument sets a contemplative tone. Influenced by Flanagan’s encounter with Rodin’s Gates of Hell, the sculpture evokes weight and shadow, offering a moment of introspection before entering the hotel. A bold homage to classical forms, it reimagines tradition through movement, scale, and the language of bronze.

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