"Rodin" Educator Guide
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Who Is Malvina Hofman? By: Vladimir Čeh
Vladimir Čeh (1946) Владимир Чех (1946) Институт за историју оглашавања је основан 2012. године ради The lnstitute of Advertising History was founded in 2012 to research истраживања и афирмације историје и развоја оглашавања и and raise awareness of the history and development of advertising интегрисаних маркетинг комуникација, њиховог утицаја на културу and integrated marketing communications, of their impact оn the way живљења и њихове промоције. of life and of their promotion. Philologist. After 25 years at Radio Belgrade, Реализацијом пројеката и програма који обухватају проучавање Ву implementing projects and programmes that include the study Филолог. После 25 година рада у Радио he was partner, owner and/or creative director историјских процеса, догађаја, личности и појава, Институт of historical processes, events, personalities and concepts, the Београду био партнер, власник и/или in several advertising agencies. Long-term прикупља, чува, стручно обрађује и приказује јавности lnstitute collects, preserves, expertly treats and presents to the креативни директор у неколико огласних president of the Belgrade branch of the IAA комуникацијске алате и историјску грађу од значаја за развијања public communication tools and historical material important for агенција. Дугогодишњи председник (International Advertising Association), member свести о улози и месту интегрисаних маркетинг комуникација у developing awareness of the role and place of integrated marketing Београдског огранка IAA (International of the IAA world board, president of the Serbian култури живљења. communications in society and culture. Advertising Association), члан светског борда Propaganda Association (UEPS), president of IAA, председник Удружења пропагандиста the UEPS Court of honour. Остваривањем својих циљева Институт реализује, афирмише ln pursuit of its goals, the lnstitute realizes and promotes cooperation Србије (УЕПС), председник Суда части и промовише сарадњу са музејима, архивима, библиотекама, with museums, archives, libraries, professional associations, WHO IS УЕПС-а. -
Clara E. Sipprell Papers
Clara E. Sipprell Papers An inventory of her papers at Syracuse University Finding aid created by: - Date: unknown Revision history: Jan 1984 additions, revised (ASD) 14 Oct 2006 converted to EAD (AMCon) Feb 2009 updated, reorganized (BMG) May 2009 updated 87-101 (MRC) 21 Sep 2017 updated after negative integration (SM) 9 May 2019 added unidentified and "House in Thetford, Vermont" (KD) extensively updated following NEDCC rehousing; Christensen 14 May 2021 correspondence added (MRC) Overview of the Collection Creator: Sipprell, Clara E. (Clara Estelle), 1885-1975. Title: Clara E. Sipprell Papers Dates: 1915-1970 Quantity: 93 linear ft. Abstract: Papers of the American photographer. Original photographs, arranged as character studies, landscapes, portraits, and still life studies. Correspondence (1929-1970), clippings, interviews, photographs of her. Portraits of Louis Adamic, Svetlana Allilueva, Van Wyck Brooks, Pearl S. Buck, Rudolf Bultmann, Charles E. Burchfield, Fyodor Chaliapin, Ralph Adams Cram, W.E.B. Du Bois, Albert Einstein, Dorothy Canfield Fisher, Ralph E. Flanders, Michel Fokine, Robert Frost, Eva Hansl, Roy Harris, Granville Hicks, Malvina Hoffman, Langston Hughes, Robinson Jeffers, Louis Krasner, Serge Koussevitzky, Luigi Lucioni, Emil Ludwig, Edwin Markham, Isamu Noguchi, Maxfield Parrish, Sergei Rachmaninoff, Eleanor Roosevelt, Dane Rudhyar, Ruth St. Denis, Otis Skinner, Ida Tarbell, Howard Thurman, Ridgely Torrence, Hendrik Van Loon, and others Language: English Repository: Special Collections Research Center, Syracuse University Libraries 222 Waverly Avenue Syracuse, NY 13244-2010 http://scrc.syr.edu Biographical History Clara E. Sipprell (1885-1975) was a Canadian-American photographer known for her landscapes and portraits of famous actors, artists, writers and scientists. Sipprell was born in Ontario, Canada, a posthumous child with five brothers. -
Who's Who at the Rodin Museum
WHO’S WHO AT THE RODIN MUSEUM Within the Rodin Museum is a large collection of bronzes and plaster studies representing an array of tremendously engaging people ranging from leading literary and political figures to the unknown French handyman whose misshapen proboscis was immortalized by the sculptor. Here is a glimpse at some of the most famous residents of the Museum… ROSE BEURET At the age of 24 Rodin met Rose Beuret, a seamstress who would become his life-long companion and the mother of his son. She was Rodin’s lover, housekeeper and studio helper, modeling for many of his works. Mignon, a particularly vivacious portrait, represents Rose at the age of 25 or 26; Mask of Mme Rodin depicts her at 40. Rose was not the only lover in Rodin's life. Some have speculated the raging expression on the face of the winged female warrior in The Call to Arms was based on Rose during a moment of jealous rage. Rose would not leave Rodin, despite his many relationships with other women. When they finally married, Rodin, 76, and Rose, 72, were both very ill. She died two weeks later of pneumonia, and Rodin passed away ten months later. The two Mignon, Auguste Rodin, 1867-68. Bronze, 15 ½ x 12 x 9 ½ “. were buried in a tomb dominated by what is probably the best The Rodin Museum, Philadelphia. known of all Rodin creations, The Thinker. The entrance to Gift of Jules E. Mastbaum. the Rodin Museum is based on their tomb. CAMILLE CLAUDEL The relationship between Rodin and sculptor Camille Claudel has been fodder for speculation and drama since the turn of the twentieth century. -
Rodin Biography
Contact: Norman Keyes, Jr., Director of Media Relations Frank Luzi, Press Officer (215) 684-7864 [email protected] AUGUSTE RODIN’S LIFE AND WORK François-Auguste-René Rodin was born in Paris in 1840. By the time he died in 1917, he was not only the most celebrated sculptor in France, but also one of the most famous artists in the world. Rodin rewrote the rules of what was possible in sculpture. Controversial and celebrated during his lifetime, Rodin broke new ground with vigorous sculptures of the human form that often convey great drama and pathos. For him, beauty existed in the truthful representation of inner states, and to this end he often subtly distorted anatomy. His genius provided inspiration for a host of successors such as Henri Matisse, Constantin Brancusi and Henry Moore. Unlike contemporary Impressionist Paul Cézanne---whose work was more revered after his death---Rodin enjoyed fame as a living artist. He saw a room in the Metropolitan Museum of Art in New York dedicated to his work and willed his townhouse in Paris, the Hôtel Biron, to the state as a last memorial to himself. But he was also the subject of intense debate over the merits of his art, and in 1898 he attracted a storm of controversy for his unconventional monument to French literary icon Honoré de Balzac. MAJOR EVENTS IN RODIN’S LIFE 1840 November 12. Rodin is born in Paris. 1854 Enters La Petite École, a special school for drawing and mathematics. 1857 Fails in three attempts to be admitted at the prestigious École des Beaux-Arts. -
Portraits of Sculptors in Modernism
Konstvetenskapliga institutionen Portraits of Sculptors in Modernism Författare: Olga Grinchtein © Handledare: Karin Wahlberg Liljeström Påbyggnadskurs (C) i konstvetenskap Vårterminen 2021 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Olga Grinchtein Titel och undertitel: Portraits of Sculptors in Modernism Engelsk titel: Portraits of Sculptors in Modernism Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors. 2 Acknowledgements I would like to thank my supervisor Karin Wahlberg Liljeström for her help and advice. I also thank Linda Hinners for providing information about Annie Bergman’s portrait of Gertrud Linnea Sprinchorn. I would like to thank my mother for supporting my interest in art history. 3 Table of Contents 1. Introduction ....................................................................................................................... -
Joan of Arc" in the Artistic Development of Anna Hyatt Huntington
Syracuse University SURFACE The Courier Libraries Fall 1975 The Significance of the questrianE Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington Myrna Garvey Eden Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons Recommended Citation Eden, Myrna Garvey. "The Significance of the questrianE Monument 'Joan of Arc' in the Artistic Development of Anna Hyatt Huntington." The Courier 12.4 (1975): 3-12. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. JOAN OF ARC Bronze, 11.4 times life. 1915. Riverside Drive and 93rd Street, New York, New York. Anna Hyatt Huntington, Sculptor THE COURIER SYRACUSE UNIVERSITY LIBRARY ASSOCIATES VOLUME XII, NUMBER 4 Table of Contents Fall 1975 Page The Significance of the Equestrian Monument "Joan of Arc" in the Artistic Development of Anna Hyatt Huntington. 3 Myrna Garvey Eden The Sculpture of Anna Hyatt Huntington in the Syracuse University Art Collection. 13 Myrna Garvey Eden Clara E. Sipprell: American Photographer, In Memoriam 29 Ruth-Ann Appelhof News of the Library and Library Associates 33 Portrait of Anna Hyatt Huntington from Beatrice G. Proske's Archer M. Huntington, New York, Hispanic Society of America, 1963. Courtesy of Hispanic Society of America. The Significance of the Equestrian Monument "Joan of Arc" In the Artistic Development of Anna Hyatt Huntington by Myrna Garvey Eden The manuscript collection of Anna Hyatt Huntington, sculptor, 1876-1973, left to the George Arents Research Library at Syracuse University by Mrs. -
Rodin Museum History [Release]
Contact: Norman Keyes, Jr., Director of Media Relations Frank Luzi, Press Officer (215) 684-7864 [email protected] THE RODIN MUSEUM, PHILADELPHIA In a park setting at 22nd Street and the Benjamin Franklin Parkway (four blocks east of the Philadelphia Museum of Art) is one of the jewels of the city’s cultural landscape. The Rodin Museum, with its elegant gardens and stunning Beaux-Arts architecture, is the legacy of one of Philadelphia's best-known philanthropists. Movie magnate Jules Mastbaum (1872-1926) fell in love with the work of French sculptor Auguste Rodin (1840-1917) while on a visit to Paris in 1923. With characteristic energy Mastbaum spent the next three years assembling an extraordinary collection of sculpture and drawings by the artist, with the idea of establishing a Rodin Museum in Philadelphia for “the enjoyment of my fellow citizens.” While amassing his collection, Mastbaum commissioned the gifted architects Paul Cret and Jacques Gréber to design a building and formal garden on the new Benjamin Franklin Parkway, the broad, tree-lined boulevard designed to evoke another grand avenue, the Champs Elysees in Paris. The museum, simple in detail, is monumental in its conception and yet intimate in scale and feeling. The gateway leading to the garden and museum reproduces the façade of the Château d’Issy, which had been constructed on Rodin’s property at Meudon in 1907. A cast of The Thinker (1902-04) is set in a location similar to that of the one at Meudon that serves as Rodin’s headstone. The overall effect was intended to suggest the setting of Rodin’s tomb. -
Theory Practice &
THEORY& PRACTICE MUSEUM FUTURES: Diversity, Inclusivity, and Social Justice A Publication from the National Emerging Museum Professional Network and The Museum Scholar Volume 2, 2019 Volume Curating Racism: Understanding Field Museum Physical Anthropology from 1893 to 1969 LUCIA PROCOPIO Northwestern University Theory and Practice: The Emerging Museum Professionals Journal www.TheMuseumScholar.org Rogers Publishing Corporation NFP 5558 S. Kimbark Ave, Suite 2, Chicago, IL 60637 www.rogerspublishing.org Cover photo: Antonio Molinari ©2019 The Museum Scholar The National Emerging Museum Professionals Network Theory and Practice is a peer reviewed Open Access Gold journal, permitting free online access to all articles, multi-media material, and scholarly research. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Curating Racism: Understanding Field Museum Physical Anthropology from 1893 to 1969 LUCIA PROCOPIO Northwestern University Keywords Anthropology; Scientific Racism; Field Museum Abstract Early anthropological study has often been credited with advancing both existing and new racist ideologies. As major research institutions, nineteenth and twentieth-century museums were often complicit in this process. This paper uses the Field Museum as a case study to explore how natural history museums of this period developed and propagated scientific racism. While previous research has examined the 1933 The Races of Mankind exhibition, this paper will present a broader understanding -
Fragments: Beyond the Object
! ! ! FRAGMENTS: BEYOND THE OBJECT David William Hamilton University of Tasmania March 2011 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Signed statement of originality The material presented in this exegesis is original, except where due acknowledgement is given, and has not been accepted for any other degree or diploma. ––––––––––––––––––––––––––––– David Hamilton ! "! Statement of authority of access This exegesis may be made available for loan and limited copying in accordance with the Australian Copyright Act 1968. –––––––––––––––––––––––––––––––––– David Hamilton ! ""! Abstract The project is an investigation of processes that contrive to influence how visual objects are viewed and interpreted. I believe that all artworks are composed of a combination of physical and conceptual fragments, with the physical object constituting but a small yet important part of the viewer’s perceptual experience. To me, the role of an art object is to be a specifically crafted initiator, setting in train a process that builds a vision of a whole that is more than the object itself. I contend that a fragment of an artwork has a definite edge, a point where its physical being ceases, but also marking a transition where an ambiguity begins: there is an unseen continuation which surrounds all art objects. This is explored through an overview of the fragment, particularly in Western sculptural and light forms. In a metaphoric sense, the undefined and ephemeral space beyond the object is inhabited by elements that fall in and out of focus: it is a place where cognition of them is always fleeting. It is these parts, not physically represented by the object, but merely inferred as a consequence of the object, that are the subject of investigation. -
Antoine Bourdelle, Grand Guerrier / 2019 1
e XIX siècle / France / Sculpture Musée des Beaux-Arts de Caen – Parc des sculptures Étude d’une œuvre… ANTOINE BOURDELLE (Montauban, 1861 – Le Vésinet, 1929) Grand Guerrier 1894-1900 Fiche technique Bronze 212 x 154 x 59 cm Dépôt du Musée Bourdelle Musée des Beaux-Arts de Caen / Étude d’une œuvre : Antoine Bourdelle, Grand Guerrier / 2019 1 ÉLÉMENTS BIOGRAPHIQUES 1861 : Naissance à Montauban, son père est menuisier, il en gardera un attachement important au savoir-faire, à la technicité. Il entre à 15 ans à l'École des beaux-arts de Toulouse. 1893 : Il intègre l’atelier de Rodin où il est engagé comme praticien (c'est-à- dire simple exécutant). Il collabore plus de quinze ans avec le maître. Il participe entre autres à la réalisation des Bourgeois de Calais et devient un proche de Rodin. 1900 : Bourdelle s’émancipe peu à peu de l’emprise artistique de Rodin avec sa Tête d’Apollon . 1905 : Sa première exposition personnelle est organisée par le fondeur Hebrard qui, en le dispensant des frais de fonte, lui octroie une liberté opportune. 1908 : Il quitte définitivement l’atelier de Rodin. 1909 : Il réalise Héraclès archer et commence à enseigner à la Grande Chaumière où il aura pour élèves de nombreux artistes tels qu’Alberto Giacometti, Germaine Richier ou encore Maria Helena Vieira Da Silva. 1913 : Il conçoit le décor de la façade et les reliefs de l'atrium du théâtre des Champs-Élysées construit par Auguste Perret. À l’Armory Show, première manifestation d'art contemporain sur le sol américain, les œuvres de Bourdelle côtoient celles de Duchamp, Brancusi ou Picabia. -
Self-Possession in the Poetry of Paul Celan, Ts Eliot
THE LANGUAGE OF REAL LIFE: SELF-POSSESSION IN THE POETRY OF PAUL CELAN, T. S. ELIOT, RAINER MARIA RILKE, AND PAUL VALÉRY by Scott Marentette A thesis submitted in conformity with the requirements for the degree of Ph. D. Graduate Department of The Centre for Comparative Literature University of Toronto © Copyright by Scott James Marentette 2010 The Language of Real Life: Self-Possession in the Poetry of Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry Scott Marentette Ph. D. 2010 Centre for Comparative Literature University of Toronto In his “Letter on Humanism,” Martin Heidegger conveys the importance he attributes to poetry when he states: “Language is the house of being” (“Letter” 239). In response to his early Jesuit education, he developed a secular alternative to theology with his existential phenomenology. Theology, poetry, and phenomenology share the basic concern of explaining the foundations of being. For Heidegger, ownership characterizes being in a fundamental way; in Contributions to Philosophy (From Enowning) , he establishes the “Ereignis” (“event of appropriation”) as the foundation of being. Ownership lies at the core of being in his thinking following Being and Time . Yet his philosophy ignores the material circumstances of ownership. By way of a materialist critique of Heidegger’s Idealist phenomenology, I expose how property-relations are encoded in the modern poetry and philosophy of dwelling with the question: who owns the house of being? The answer lies in “self-possession,” which represents historical subjectivity as the struggle for the means of production. Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry are all poets who address the relationship between being and ownership in expressing what Marx and Engels call the “language of real life” in The German Ideology (26). -
Spiritual Conversations with Swami Shankarananda Swami Tejasananda English Translation by Swami Satyapriyananda (Continued from the Previous Issue)
2 THE ROAD TO WISDOM Swami Vivekananda on Significance of Symbols—III n the heart of all these ritualisms, there Istands one idea prominent above all the rest—the worship of a name. Those of you who have studied the older forms of Christianity, those of you who have studied the other religions of the world, perhaps have marked that there is this idea with them all, the worship of a name. A name is said to be very sacred. In the Bible we read that the holy name of God was considered sacred beyond compare, holy consciously or unconsciously, man found beyond everything. It was the holiest of all the glory of names. names, and it was thought that this very Again, we find that in many different Word was God. This is quite true. What is religions, holy personages have been this universe but name and form? Can you worshipped. They worship Krishna, they think without words? Word and thought worship Buddha, they worship Jesus, and so are inseparable. Try if anyone of you can forth. Then, there is the worship of saints; separate them. Whenever you think, you hundreds of them have been worshipped all are doing so through word forms. The one over the world, and why not? The vibration brings the other; thought brings the word, of light is everywhere. The owl sees it in the and the word brings the thought. Thus the dark. That shows it is there, though man whole universe is, as it were, the external cannot see it. To man, that vibration is only symbol of God, and behind that stands visible in the lamp, in the sun, in the moon, His grand name.