“I wanted to do something very invasive, since if you present a small object, nobody sees it. You need to go with something slightly brazen and a bit embarrassing. If you come with a snail as big as a thumb, nobody notices you! I made a sheep and then decided that I definitely needed a herd. […] I had also lived in a land of sheep and knew the animals well. My father kept some. Also, sheep in a Parisian apartment is a bit like ‘bringing the countryside to Paris’. And it’s much easier to have a sculpture in an apartment than a real sheep. And it’s even better if you can sit on it.” - François-Xavier Lalanne

The first iteration of François-Xavier Lalanne’s celebrated sheep sculptures, Moutons de Laine, debuted in 1965 under the evocative title Pour Polytheme. This title references Homer’s Odyssey, specifically the episode in which Ulysses and his companions escape from the Cyclops Polyphemus by clinging to the undersides of colossal sheep. With this mythological allusion, Lalanne rooted his work in the classical tradition, weaving ancient allegory into contemporary art. The Moutons de Laine bridged past and present, offering a tactile and humorous reinterpretation of the epic tale.

First unveiled at the Salon de Jeune Peinture, the Moutons de Laine garnered immediate international attention. The installation showcased a whimsical arrangement of twenty-four sheep – eight standing and sixteen grazing – scattered playfully across the gallery floor. Positioned at the exhibition entrance, the sculptures became a sensation, with artists and critics alike photographed lounging upon them. By 1967, the Moutons de Laine appeared in Life magazine, gracing stylish Parisian interiors and entering the collections of cultural luminaries, including Yves Saint Laurent. The series marked a significant moment for Lalanne, following his first private commission for Saint Laurent and Pierre Bergé in 1965 – the bespoke Bar YSL that demonstrated his unique blend of wit and craftsmanship. Reflecting on the creation of the Moutons de Laine, Lalanne remarked: “I thought that it would be funny to invade that big living room with a flock of sheep. It is, after all, easier to have a sculpture in an apartment than to have a real sheep. And it’s even better if you can sit on it.”

Building on this initial success, Lalanne reimagined the series in Ury, a pastoral village south of Paris where he lived with his wife and fellow artist, Claude Lalanne. In 1977, he introduced Moutons de Pierre Classique, a transformation of the earlier design. These sculptures replaced the woolly exteriors with epoxy stone, creating a more monumental and durable form. By situating Moutons de Pierre Classique in outdoor settings, Lalanne merged the sculptures with their environment, evoking the charm of a grazing flock while encouraging viewers to reframe their relationship with art and nature.

In 1988, Lalanne further developed this concept with Moutons Transhumant. Inspired by the Verdon Gorge and the southern breeds of sheep native to the region, the Brebis in this iteration featured a distinctive bronze finish atop its head, reflecting the sunlit tones of southern flocks. Leaner in form, the Moutons Transhumant evoke the ancient practice of transhumance – the seasonal movement of livestock in search of greener pastures.

In 1994, Lalanne unveiled the Nouveaux Moutons, a refinement of his iconic series. This iteration included the Brebis (1994), the Bélier (1994), and the Agneau (1996). The sculptures in this series were leaner and more streamlined, their coats rendered in a brighter white. Subtle details, such as stone around the ears, added sophistication to their minimalist aesthetic.

Today, Lalanne’s Moutons are celebrated as masterpieces of 20th-century design. Coveted by collectors, designers, and art enthusiasts, the sculptures have graced the collections and interiors of Yves Saint Laurent, Tom Ford, Peter Marino, Karl Lagerfeld, and Hubert de Givenchy. Their charm lies in their unique ability to blend whimsy with elegance, functioning as both serious works of art and versatile decorative pieces.

The enduring popularity of Lalanne’s Moutons underscores his genius in crafting sculptures that transcend traditional boundaries. More than objects of beauty, these sculptures transcend their sculptural allure, inviting interaction through their tactile and experiential qualities. This duality reconfigures the viewer’s relationship with both art and furniture: art is engaged with in a tactile, physical manner, while furniture demands to be appreciated with an artistic attentiveness.
Through the Moutons, François-Xavier Lalanne not only redefined the boundaries of sculpture but also forged a profound dialogue between art, utility, and nature. These works, simultaneously whimsical and profound, embody his and Claude’s vision of integrating art into daily life – an enduring legacy that challenges us to see beauty, humor, and artistry as inseparable from the ordinary.

The Moutons consistently achieve high prices at auction. The original flock of twenty-four Moutons de Laine sold for $5,682,500 at Christie’s New York in 2012. In 2020, a Troupeau de Moutons comprising one Bélier, three Moutons Transhumants, two Moutons de Pierre, two Brebis, and two Agneaux Bélier sold for $2,910,000 at Christie’s New York.