“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.”