DOCSLIB.ORG

Rodin PR Checklist Final

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rodin PR Checklist Final Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Exhibit Checklist Auguste Rodin, France, 1840–1917 Seated Bather with Feet Apart, Headless (Baigneuse assise, pieds écartés, sans tête) 1885-1900 Bronze Credit line: Cantor Arts Center Collection, Committee for Art Acquisitions Fund Accession no.: 1968.24 Auguste Rodin, France, 1840–1917 Mrs. Russell (Mme. Russell) 1888-1889 Wax Credit line: Cantor Arts Center Collection, Gift of Mr. and Mrs. William Janss Accession no.: 1968.85 Auguste Rodin, France, 1840–1917 Flying Figure, small version (Figure volante, petit modèle) 1890-1891 Bronze Credit line: Cantor Arts Center Collection, Museum Purchase Fund Accession no.: 1970.134 Auguste Rodin, France, 1840–1917 Victor Hugo, known as the Bust to the Illustrious Master (Victor Hugo, buste dit À l’Illustre Maître) 1885, first modeled 1883 Bronze Credit line: Cantor Arts Center Collection, Gift of Cyril Magnin Accession no.: 1971.5 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 1 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 Giganti, Male Torso (Giganti, torse masculin) c. 1882-1885 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.32 Auguste Rodin, France, 1840–1917 The Kiss (Le baiser) c. 1880-1882 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.36 Auguste Rodin, France, 1840–1917 Youth Triumphant (La jeunesse triomphante) 1894 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.37 Auguste Rodin, France, 1840–1917 The Juggler (Le jongleur) c. 1892-1895 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.40 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 2 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 Left Hand (Main gauche) c. 1900 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.43 Auguste Rodin, France, 1840–1917 Blessing Left Hand (Main gauche bénissante) 1880-1884 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.44 Auguste Rodin, France, 1840–1917 Large Left Hand (Grande main gauche) c. 1903 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.46 Auguste Rodin, France, 1840–1917 Rodin's Hand Holding a Torso (La main de Rodin tenant un torse) 1917 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.48 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 3 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 Large Clenched Left Hand (Grande main crispée gauche) 1888 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.49 Auguste Rodin, France, 1840–1917 Iris, Study with Head (Iris, étude avec tête) c. 1891 Bronze Credit line: Cantor Arts Center Collection, Gift of the B. Gerald Cantor Art Foundation Accession no.: 1974.50 Auguste Rodin, France, 1840–1917 Maquette for the Figure of Claude Lorrain (Claude Lorrain, maquette de la figure) 1888-1889 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.53 Auguste Rodin, France, 1840–1917 Sketch of the Monument to Claude Lorrain (Claude Lorrain, esquisse du monument) 1888 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.55 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 4 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 She Who Was the Helmet Maker's Once-Beautiful Wife (Celle qui fut la belle heaulmière) 1885-1887 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.56 Auguste Rodin, France, 1840–1917 The Centauress (La centauresse) c. 1887 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.57 Auguste Rodin, France, 1840–1917 Youth (Jeunesse) c. 1879 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.60 Auguste Rodin, France, 1840–1917 Study for a Damned Woman (Étude pour une damnée) c. 1884-1888 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.61 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 5 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 Despair (L'désespoir) 1887-1890 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.62 Auguste Rodin, France, 1840–1917 Bellona (Bellone) 1879 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.63 Auguste Rodin, France, 1840–1917 Bust of Saint John the Baptist (Buste de Saint Jean-Baptiste) 1878 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.65 Auguste Rodin, France, 1840–1917 Study for France or Saint George (Étude pour la France, ou Saint Georges) 1903-1904 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.66 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 6 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 Man with the Broken Nose (L'homme au nez cassé, tête) 1863-1864 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.74 Auguste Rodin, France, 1840–1917 Rose Beuret 1880-1882 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.76 Auguste Rodin, France, 1840–1917 Camille Claudel 1886 or 1910-1917 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.77 Auguste Rodin, France, 1840–1917 Father Pierre-Julien Eymard, reduction (La Père Pierre-Julien Eymard, réduction) before 1901, first modeled 1863 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.81 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 7 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 Man with the Broken Nose, reduction (L'homme au nez cassé, réduction) before 1889, first modeled 1863 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.82 Auguste Rodin, France, 1840–1917 Jules Dalou 1883 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.83 Auguste Rodin, France, 1840–1917 Head of the Tragic Muse (Tête de la muse tragique) 1893-1896 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.84 Auguste Rodin, France, 1840–1917 Despair (L'désespoir) 1914, first modeled 1887-1890 Limestone Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.86 For more information contact: Margaret Whitehorn, Public Relations Assistant Manager, Cantor Arts Center at Stanford University, Lomita Dr. at Museum Way, Stanford, CA 94305, 650-724-3600, [email protected], museum.stanford.edu 09/22/17 8 Rodin: The Shock of the Modern Body 9/15/2017–Ongoing Auguste Rodin, France, 1840–1917 Jean d'Aire, draped bust (Jean d'Aire, buste drapée) 1904, first modeled 1885-1886 Terra-cotta Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation Accession no.: 1974.87 Auguste Rodin, France, 1840–1917 Albert-Ernest Carrier-Belleuse 1882 Terra-cotta Credit line: Cantor Arts Center Collection, Gift of the Iris and B. Gerald Cantor Foundation. Conservation supported by the Lois Clumeck Fund Accession no.: 1974.88 Auguste Rodin, France, 1840–1917 Balzac, second study for Nude F (Balzac, deuxième étude pour Le nu F) c.1896 Bronze Credit line: Cantor Arts Center Collection, Gift of the Iris and B.
Load more

Recommended publications
  • A Passion for Rodin Set a Manhattan Couple on an Ambitious Collecting Journey& Covering the Past Century of Art History
    dreamers creators A passion for Rodin set a Manhattan couple on an ambitious collecting journey& covering the past century of art history. By Margie Goldsmith • Photography by Billy Cunningham The collector looks up at his cast of “The Thinker.” Perhaps he is recalling what Rodin himself wrote about his sculpture: “The Thinker has a story. In the days long gone by I conceived the idea of the Gates of Hell. Before the door, seated on the rock, Dante thinking of the plan of the poem behind him ... all the characters from the Divine Comedy. This proj- ect was not realized. Thin ascetic Dante in his straight robe separated from all the rest would have been without meaning. Guided by my first inspiration I conceived another thinker, a naked man, seated on a rock, his fist against his teeth, he dreams. The fertile thought slowly elaborates itself within his brain. He is no longer a dreamer, he is a creator.” Rodin’s tale helps reveal why a boy from a small Mid- western town who became one of New York’s most suc- cessful fund managers would identify with a working-class sculptor whose masterpieces created a Rodin, “The Thinker,” conceived bronze bridge between 19th-century Romanticism and c. 1880 (this version was cast 20th-century Modernism. “I identify with the creativity and the before 1952), bronze with dark passion with which Rodin led his life,” says the collector, who brown and green patina. wishes to remain anonymous, as he continues to regard “The Charles Ephraim Burchfield, “Sultry Thinker.” “Look at the combination of strength, beauty and emo- Day” (right), 1957, watercolor on tional passion that Rodin manages to put in a lump of bronze.
    [Show full text]
  • Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Heather Marlene Bennett University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons Recommended Citation Bennett, Heather Marlene, "Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880" (2013). Publicly Accessible Penn Dissertations. 734. https://repository.upenn.edu/edissertations/734 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/734 For more information, please contact [email protected]. Long Live the Revolutions: Fighting for France's Political Future in the Long Wake of the Commune, 1871-1880 Abstract The traumatic legacies of the Paris Commune and its harsh suppression in 1871 had a significant impact on the identities and voter outreach efforts of each of the chief political blocs of the 1870s. The political and cultural developments of this phenomenal decade, which is frequently mislabeled as calm and stable, established the Republic's longevity and set its character. Yet the Commune's legacies have never been comprehensively examined in a way that synthesizes their political and cultural effects. This dissertation offers a compelling perspective of the 1870s through qualitative and quantitative analyses of the influence of these legacies, using sources as diverse as parliamentary debates, visual media, and scribbled sedition on city walls, to explicate the decade's most important political and cultural moments, their origins, and their impact.
    [Show full text]
  • Materials & Process
    Sculpture: Materials & Process Teaching Resource Developed by Molly Kysar 2001 Flora Street Dallas, TX 75201 Tel 214.242.5100 Fax 214.242.5155 NasherSculptureCenter.org INDEX INTRODUCTION 3 WORKS OF ART 4 BRONZE Material & Process 5-8 Auguste Rodin, Eve, 1881 9-10 George Segal, Rush Hour, 1983 11-13 PLASTER Material & Process 14-16 Henri Matisse, Madeleine I, 1901 17-18 Pablo Picasso, Head of a Woman (Fernande), 1909 19-20 STEEL Material & Process 21-22 Antony Gormley, Quantum Cloud XX (tornado), 2000 23-24 Mark di Suvero, Eviva Amore, 2001 24-25 GLOSSARY 26 RESOURCES 27 ALL IMAGES OF WORKS OF ART ARE PROTECTED UNDER COPYRIGHT. ANY USES OTHER THAN FOR EDUCATIONAL PURPOSES ARE STRICTLY FORBIDDEN. 2 Introduction This resource is designed to introduce students in 4th-12th grades to the materials and processes used in modern and traditional sculpture, specifically bronze, plaster, and steel. The featured sculptures, drawn from the collection of the Nasher Sculpture Center, range from 1881 to 2001 and represent only some of the many materials and processes used by artists whose works of art are in the collection. Images from this packet are also available in a PowerPoint presentation for use in the classroom, available at nashersculpturecenter.org. DISCUSS WITH YOUR STUDENTS Artists can use almost any material to create a work of art. When an artist is deciding which material to use, he or she may consider how that particular material will help express his or her ideas. Where have students seen bronze before? Olympic medals, statues… Plaster? Casts for broken bones, texture or decoration on walls..
    [Show full text]
  • Victoria Woodhull: a Radical for Free Love Bernice Redfern
    San Jose State University SJSU ScholarWorks San José Studies, 1980s San José Studies Fall 10-1-1984 San José Studies, Fall 1984 San José State University Foundation Follow this and additional works at: https://scholarworks.sjsu.edu/sanjosestudies_80s Recommended Citation San José State University Foundation, "San José Studies, Fall 1984" (1984). San José Studies, 1980s. 15. https://scholarworks.sjsu.edu/sanjosestudies_80s/15 This Journal is brought to you for free and open access by the San José Studies at SJSU ScholarWorks. It has been accepted for inclusion in San José Studies, 1980s by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. sa1an~s asof Nvs SAN JOSE Volume X, Number 3 ARTICLES The Declaration and the Constitution Harry V. Jaffa . 6 A Moral and a Religious People Robert N. Bellah .............................................. 12 The Constitution and Civic Education William J. Bennett ............................................ 18 Conversation: The Higher Law Edward J. Erler and T. M. Norton .............................. 22 Everyone Loves Money in The Merchant of Venice Norman Nathan .............................................. 31 Victoria Woodhull: A Radical for Free Love Bernice Redfern .............................................. 40 Goneril and Regan: 11So Horrid as in Woman" Claudette Hoover ............................................ 49 STUDIES Fall1984 FICTION The Homed Beast Robert Burdette Sweet ........................................ 66 Wars Dim and
    [Show full text]
  • Redalyc.AUGUSTE RODIN, EL CARÁCTER ESPECÍFICODE SU
    Quintana. Revista de Estudos do Departamento de Historia da Arte ISSN: 1579-7414 [email protected] Universidade de Santiago de Compostela España Núñez Rodríguez, Manuel AUGUSTE RODIN, EL CARÁCTER ESPECÍFICODE SU PROCESO CONFIGURATIVO Quintana. Revista de Estudos do Departamento de Historia da Arte, núm. 13, 2014, pp. 101-117 Universidade de Santiago de Compostela Santiago de Compostela, España Disponible en: http://www.redalyc.org/articulo.oa?id=65342954006 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto AUGUSTE RODIN, EL CARÁCTER ESPECÍFICO DE SU PROCESO CONFIGURATIVO Manuel Núñez Rodríguez Universidade de Santiago de Compostela RESUMEN En este estudio se trata de analizar los diferentes factores que influyeron en la obra de Rodin, así como sus principales innovaciones como escultor, tanto en el tratamiento de las obras como en los diferentes factores que predominaron en el artista francés, con el que creó una obra rica en matices plásticos e innovadora en el mundo de finales del siglo XIX. Palabras clave: Rodin, mano in pronazione, ritual de harmiscara, comportamiento kinésico, sinestesia ABSTRACT This study sets out to analyse the various factors that influenced the work of Rodin and his main innovations as a sculptor, both in the treatment of his work and his influences, which he drew on to create art that was both rich in visual nuance and groundbreaking for the late nineteenth century.
    [Show full text]
  • Greek Sculpture and the Four Elements Art
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Sculpture and the Four Elements Art 7-1-2000 Greek Sculpture and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgs Part of the History of Art, Architecture, and Archaeology Commons Benson, J.L., "Greek Sculpture and the Four Elements [full text, not including figures]" (2000). Greek Sculpture and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgs/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Sculpture and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire About this book This is one part of the first comprehensive study of the development of Greek sculpture and painting with the aim of enriching the usual stylistic-sociological approaches through a serious, disciplined consideration of the basic Greek scientific orientation to the world. This world view, known as the Four Elements Theory, came to specific formulation at the same time as the perfected contrapposto of Polykleitos and a concern with the four root colors in painting (Polygnotos). All these factors are found to be intimately intertwined, for, at this stage of human culture, the spheres of science and art were not so drastically differentiated as in our era. The world of the four elements involved the concepts of polarity and complementarism at every level.
    [Show full text]
  • 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.
    [Show full text]
  • Number 25 Update
    NUMBER 25 UPDATE CLICK HERE TO FIND THE LATEST NEWS W ΔΓ David Ghezelbash Archéologie EXHIBITION ANCIENT WORKS OF ART FROM THE MEDITERRANEAN SEA At the Galerie David Ghezelbash 12 rue Jacob TO 75006 Paris France 04/26/2013 Mobile + 33 (0)6 88 23 39 11 [email protected] FROM www.davidghezelbash.com 06/01/2013 BID AT WWW.DROUOTLIVE.COM FREE SERVICE AND WITHOUT EXTRA FEES BID AT DROUOT ANYWHERE ! LA GAZETTE DROUOT INTERNATIONAL WWW.GAZETTE-INTERNATIONAL.CN PARIS - NICE ACROSS THE ORIENT Important fragment of the torso of a General of the Delta, gouverner of de Upper Egypt named Psamtik. Greywacke. Egypt, 30th dynasty, 4th century BC. H. 63 cm Remained in Private French collection since 1906. WEDNESDAY 5 JUNE 2013 DROUOT Experts: Archeology: Daniel LEBEURRIER - Islam: Alexis RENARD 1, rue de la Grange-Batelière - 75009 Paris - Tel. +33.(0)1.47.70.81.36 - Fax : +33.(0)1.42.47.05.84 - Site : www.boisgirard.com - E-mail : [email protected] Authorised auctioneers : Isabelle Boisgirard et Pierre-Dominique Antonini - N° agrément 2001-022 THE MAGAZINE CONTENTS CONTENTS ART MARKET - MAGAZINE 68 RESULTS Recent bids have included a large number of world records, not only for Old Masters (dominated by Jacobus Vrel), but also for contemporary artists like Adami – not to mention drawing, a distinctly French speciality! MEETING 124 In two decades, Bill Pallot, the most talked- about antique dealer in the media, has built up a collection that may be highly disparate at first glance, but is truly fascinating. We explore this cabinet of curiosities.
    [Show full text]
  • A History of the French in London Liberty, Equality, Opportunity
    A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7.
    [Show full text]
  • Monumental Thinker2
    Auguste RODIN 1840 - 1917 “Le Grand Penseur” “The Monumental Thinker” Bronze sculpture - 1880 Signed on the base A. RODIN From the edition of twenty five numbered 1/25 to 25/25 Cast in 1998* at the VALSUANI FOUNDRY - Paris 180 centimeters in height – 71 inches 1,440 pounds Valsuani Foundry mark Stamped 1998 and 21/25 Certification & Authorization by The Rodin Museum – Paris 1998 * Most examples of the first edition of approximately 24 bronzes were also cast posthumously, ending in 1968. Two thirds of the first edition were cast after Rodin’s death. 1 Presentation – History of the Work First conceived as the central and crowning figure of the “Gates of Hell” 1880, a monumental group of sculptures commissioned by the French government, Rodin’s impressive composition, “The Thinker” has become as an independant work, indubitably one of the most well-known and celebrated sculpture of all times. The first exhibited version in 1888 in Copenhagen, was in plaster and 71.5 cm high. Only in 1902, when some of Rodin most popular sculptures were enlarged with the help of his collaborator Henri LeBossé, a monumental version of the 'Thinker' was created. By the end of 1903 Rodin had completed the enlargement of the Thinker. This impressive plaster cast of the Great Thinker, or Monumental Thinker (More than 6 feet high and 1,400 pounds of Bronze....) was first exhibited in London in 1904. A bronze made after this plaster was exhibited in Paris that same year. On April 21 st 1906, funds were collected through public subsciption and this bronze cast in 1904 was erected in front of the Pantheon in Paris.
    [Show full text]
  • The Right of Way
    The Right of Way Gilbert Parker The Right of Way Table of Contents The Right of Way......................................................................................................................................................1 Gilbert Parker.................................................................................................................................................1 INTRODUCTION.........................................................................................................................................2 NOTE.............................................................................................................................................................5 CHAPTER I. THE WAY TO THE VERDICT.............................................................................................5 CHAPTER II. WHAT CAME OF THE TRIAL............................................................................................9 CHAPTER III. AFTER FIVE YEARS........................................................................................................15 CHAPTER IV. CHARLEY MAKES A DISCOVERY...............................................................................17 CHAPTER V. THE WOMAN IN HELIOTROPE......................................................................................18 CHAPTER VI. THE WIND AND THE SHORN LAMB...........................................................................21 CHAPTER VII. PEACE, PEACE, AND THERE IS NO PEACE"'.........................................................25
    [Show full text]
  • Heaven and Hell.Pmd
    50 Copyright © 2002 The Center for Christian Ethics at Baylor University This photo is available in the print version of Heaven and Hell. Though Auguste Rodin struggled over twenty years to express through sculpture the desperation of souls that are falling from Grace, he never finished his magnificent obsession. Auguste Rodin (1840-1917), THE GATES OF HELL, 1880-1900, Bronze, 250-3/4 x 158 x 33-3/8 in. Posthumous cast authorized by Musée Rodin, 1981. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; gift of the B. Gerald Cantor Collection. Photograph by Frank Wing. The Final Judgment in Christian Art 51 Falling BY HEIDI J. HORNIK uguste Rodin accepted his first major commission, The Gates of Hell, when he was forty years old. This sculpture was to be the door- Away for the École des Arts Dècoratifs in Paris. Though the muse- um of decorative arts was not built, Rodin struggled over twenty years to depict the damned as they approach the entrance into hell. He never finished. The sculpture was cast in bronze after the artist’s death, using plaster casts taken from his clay models. The Gates of Hell, like Michelangelo’s Last Judgment, lays out its mean- ing through a turbulent and multi-figured design. The identities of many figures in the composition are not immediately apparent. Instead Rodin challenges us to make sense of the whole work by dissecting its elements and recalling its artistic influences.† The Three Shades at the very top, for example, derives from Greek thought about Hades.
    [Show full text]