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Undergraduate Review

Volume 12 Issue 1 Article 5

2000

Frederic Auguste Bartholdi and the

Daniel J. Carden '00 Illinois Wesleyan University

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Recommended Citation Carden '00, Daniel J. (2000) "Frederic Auguste Bartholdi and the Statue of Liberty," Undergraduate Review: Vol. 12 : Iss. 1 , Article 5. Available at: https://digitalcommons.iwu.edu/rev/vol12/iss1/5

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Ie Perfection of the Shrouded Rebellion: Re­ \.1aria Luis Bombal." Women writers in )ain and Spanish America. Ed. Catherine lwin Mellon P, 1993. Frederic Auguste Bartholdi Mango Street. Houston: Arte Publico P, and the Statue of Liberty

:ncio y Rebeldia: Hacia una Valoracion de By DanielJ Carden Dentro de la Tradicion de Escritura ~isa Bombal: Apreciaciones Criticas. Ed. I. Tempe: Bilingual P, 1987. rouded Woman: Marriage and Its Constraints ria Luisa Bombal." Latin American Literary ith many modern art pieces, it is practically impossible ): 21-20. to separate the from the art. Because most works of )ne's Own. : Brace and Co., 1929. W modern art tackle a subject that is uniquely personal to the artist who created the piece, the viewer must have a complete knowledge of where the piece fits into the and where it fits into the artist's own biography to truly understand the meaning of the piece in the context it was created. This is not to say, however, that the art form is always inescapably tied to the . Going back a century, it becomes possible to consider separately the artist and his art. In any creative endeavor, some aspects of the creator will come though in his creation, but generally, an artist who presents big ideas in his work goes beyond attaching just a per­ sonal meaning to his art and manages to create something that has a col­ lective meaning for all men. In this case, I am specifically referring to Frederic Auguste Bartholdi and his masterpiece, Liberty Enlightening the World, henceforth referred to as the Statue of Liberty. The idea of "liberty" is one that has challenged men for generations; Bartholdi's nineteenth-cen­ tury personification of that seemingly ungraspable idea therefore demands the art form to be placed in its appropriate context. To that end, this will first examine the career and work of Bartholdi: his style, subject mat­ ter, and critical assessment; and second, use the Statue of Liberty as an example of Bartholdi's artistic direction and concerns, in order to more fully understand and place the man and the piece in their proper context. Bartholdi's mature artistic style can be summed up in one word: big. He was no Medardo Rosso shaping minute out of wax, Bartholdi's colossal pieces tower over everything and everyone who see them. Inspired by the pyramids and the on a trip to in 1855, Bartholdi told his companions that he would build a new statue for Egypt-twice the size

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of the Sphinx. Bartholdi called the Egyptian figures "granite beings of these criteria, yet that spirit is reflected in his imperturbable majesty, whose benevolent and impassive gaze seems to nificant works. At 19, Bartholdi was commis despise the present and to be fixed on the limitless future" (Blanchet 23). to sculpt a 12-foot-high statue of Ge Returning to , Bartholdi said, "When I discover a subject grand native who had been an aide-de-camp to Na) enough, I will honor that subject by building the tallest statue in the at his own studio in Paris, Bartholdi's Genera world" (Price 29). Thus, Bartholdi quenches the desire to tackle big sub­ Salon of 1855, yet was too tall to fit into the jects by creating big pieces. Interestingly, Bartholdi did not start his artistic solved this problem by displaying General RA career sculpting massive statues, but worked instead with small clay pieces, Champs Elysees, a move that undoubtedly bl shaping three-dimensional representations of characters created by artist and raised the ire, of every exhibitor in the h and illustrator Theophile Schuler in his native town of Colmar in the took his fateful trip to Egypt while General [, region of . Bartholdi's first attempt at a life-size , of of this first set him on a road tha the founder of the convent at Colmar, caught the attention of sculptor statues, busts, sculpcures on building facades Antoine Etex, whose figures were placed on the Arch ofTriumph in Paris. Bartholdi found the fame and fortune th~ But most influential on Bartholdi's style was the time he spent in the nities to make Egyptian-like colossal sculptu workshops of Ary Scheffer. As a young man, Scheffer had lived in the though this was certainly not for a lack of id United States with Marquis de Lafayette, the Frenchman who did nearly as of the in Egypt and supervised b much as George Washington to help America break their colonial ties to Lesseps in the late 1860s, Bartholdi drew up Great Britain; later, Scheffer painted a portrait of Lafayette that now hangs lighthouse to be located at the entrance of d in the U.S. House of Representatives. As a place to experiment with paint the project to be of equal weight to the creal and canvas and clay, in Scheffer's studio, Bartholdi completely ignored his to be a robed woman holding a torch aloft, : school work and molded a future for himself in art. his works would finally stand among the od Bartholdi's range of artistic influences include illustrators, sculptors, cures. Broke and unable to afford this new V' painters and later, Eugene Viollet-le-duc, the architect who restored Notre ruler Ismail Pasha let Bartholdi know that d Dame Cathedral. What is significant about Bartholdi's influences are the Blanchet writes, the aborted Egyptian statue names that are not mentioned. Degas, Rodin, and Manet were all contem­ Bartholdi's career because "[h]e was living ir: poraries of Bartholdi. While they were breaking new ground in subject mat­ began to crave grand memorials to their gro­ ter, color, form, and the use of light, Bartholdi stuck to traditional notions times were right for Bartholdi's old-fashione: of artistic beauty. While the early modernists struggled for acceptance, memorial marking the 1870 Franco-Prussia. Bartholdi was getting commissions. With his first coming at native Colmar and Alsace were gobbled up I age 19, Bartholdi quickly developed a reputation as an excellent creator of Belfort (1880) showed that even though Fra.­ public . His mature style developed from these experiences. He had their courage. This massive 24-meter-lo told the New York World in 1878: "I have a horror of all frippery in detail cure, which also functioned as a tool of pub in sculpture. The forms and effects of that art should be broad, massive and important factor and influence in the desigr simple" (Blanchet 22). Inspired by colossal Egyptian sculpture to create the Statue of Liberty. pieces for large-scale public spaces, Bartholdi avoided the preoccupation Bartholdi never intended the Statue of L: with nuances of style and detail that obsessed his contemporaries and creat­ ed the quintessential public monument: simple, lacking excessive ornamen­ piece. Showered with praise from art critics tation, with an easy to understand, yet deeply significant meaning. General Rapp was selected to be in the Salor from the Colmar townspeople long before t Certainly Bartholdi's best known piece, the Statue of Liberty, meets all of Parisian sculptor and in high demand for d: https://digitalcommons.iwu.edu/rev/vol12/iss1/5 2 24

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Carden '00: Frederic Auguste Bartholdi and the Statue of LibertyCarden

ed the Egyptian figures "granite beings of these criteria, yet that spirit ii reflected in his lesser known but no less sig­ e benevolent and impassive gaze seems to nificant works. At 19, Bartholdi was commissioned by his hometown of :fixed on the limitless future" (Blanchet 23). Colmar to sculpt a 12-foot-high statue of General Jean Rapp, a Colmar i said, "When I discover a subject grand native who had been an aide-de-camp to . Working day and night )ject by building the tallest statue in the at his own studio in Paris, Bartholdi's General Rapp was accepted into the tholdi quenches the desire to tackle big sub­ Salon of 1855, yet was too tall to fit into the exhibition hall. The jury merestingly, Bartholdi did not start his artistic solved this problem by displaying General Rapp outside the building on the les, but worked instead with small clay pieces, Champs Elysees, a move that undoubtedly both made Bartholdi the envy, :presemations of characters created by artist and raised the ire, of every exhibitor in the hall. But for Bartholdi, who luler in his native town of Colmar in the took his fateful trip to Egypt while General Rapp was on display, the success holdi's first attempt at a life-size sculpture, of of this first monument set him on a road that led to dozens of other public t Colmar, caught the attention of sculptor statues, busts, sculptures on building facades and funerary monuments. were placed on the Arch ofTriumph in Paris. Bartholdi found the fame and fortune that he wanted, but his opportu­ noldi's style was the time he spent in the nities to make Egyptian-like colossal sculptures were decidedly limited, loS a young man, Scheffer had lived in the though this was certainly not for a lack of ideas. Moved by the excavation ie Lafayette, the Frenchman who did nearly as of the Suez Canal in Egypt and supervised by Frenchman Ferdinand de to help America break their colonial ties to Lesseps in the late 1860s, Bartholdi drew up sketches for an immense painted a portrait of Lafayette that now hangs lighthouse to be located at the entrance of the canal. Bartholdi considered ~matives. As a place to experiment with paint the project to be of equal weight to the creation of the pyramids. Designed Ter's studio, Bartholdi completely ignored his to be a robed woman holding a torch aloft, Bartholdi thought that one of lture for himself in art. his works would finally stand among the other massive Egyptian sculp­ : influences include illustrators, sculptors, tures. Broke and unable to afford this new wonder of the world, Egyptian ollet-Ie-duc, the architect who restored Notre tuler Ismail Pasha let Bartholdi know that the lighthouse was not to be. As nificant about Bartholdi's influences are the Blanchet writes, the aborted Egyptian statues were not a blow to d. Degas, Rodin, and Manet were all contem­ Bartholdi's career because "[h]e was living in an era when governments they were breaking new ground in subject mat­ began to crave grand memorials to their growing industrial power. The llight, Bartholdi stuck to traditional notions times were right for Bartholdi's old-fashioned ideas" (Blanchet 24). His :arly modernists struggled for acceptance, memorial marking the 1870 Franco-Prussian War, in which Bartholdi's ssions. With his first commission coming at native Colmar and Alsace were gobbled up by , The Lion of doped a reputation as an excellent creator of Belfort (1880) showed that even though France had lost the war, they still ue style developed from these experiences. He had their courage. This massive 24-meter-Iong and 16-meter-wide sculp­ 1878: "I have a horror of all frippery in detail ture, which also functioned as a tool of public propaganda, would be an ~ffecrs of that art should be broad, massive and important factor and influence in the design of Bartholdi's last major work, ed by colossal Egyptian sculpture to create the Statue of Liberty. )aces, Bartholdi avoided the preoccupation Bartholdi never intended the Statue of Liberty to be his last significant ail that obsessed his contemporaries and creat­ piece. Showered with praise from art critics from the age of 19 when his Ilonument: simple, lacking excessive ornamen­ was selected to be in the Salon of 1855, and most certainly itand, yet deeply significant meaning. . General Rapp from the Colmar townspeople long before that, Bartholdi was a popular mown piece, the Statue of Liberty, meets all of Parisian sculptor and in high demand for those who could afford him. Published by Digital Commons @ IWU, 2000 3 25 The UndergraduateUndergraduate Review Review, Vol. 12, Iss. 1 [2000], Art. 5

Using classical traditions, Barrholdi, as an official sculptor, recreated the pearly dawn reveals the magnificent scene ol best of Greece and in Paris and throughout France. While works by 36). Several sources indicate that as Barthol( other sculptors, Rodin's The Age ofBronze (1877) for example, were not as spotted Bedloe's Island in the middle of the well received as Barrholdi's Lion ofBelfOrt (1880), it is Rodin we remember his original idea for a lighthouse on the Sue: today, not Barrholdi. Perhaps because Barrholdi found so much success Barrholdi decided to create not just a monu and critical acclaim while still very young, he did not feel the need to friendship like his later statue Washington a innovate. While Rodin tried to represent the internal structure of a figure work of profound moral worth" (Blanchet 3 captured in a single instant, without much critical success, Bartholdi creat­ summer, Bartholdi presented his idea for chi ed the classical public monuments that the people wanted. At the same variety of people, including President UIYSSl time, monuments and public statues, such as those created by Barrholdi, America that was receptive to his idea for th take on a significance apart from their creator. The statue itself is remem­ France, where an uncertain political situatio bered, not necessarily the person who created it. 1 nearly three years working out his idea in m al could be made public. The Statue ofLiberty The idea of using "liberty" for this spew Standing tall in New York Harbor, as she did for the millions of immi­ within Bartholdi's artistic concerns, for it cc grants who entered the United States of America at nearby , the occupation of Colmar by Germany,2 wi Bartholdi's Statue of Liberty is a symbol of freedom and the opportunity could all be embodied in one colossal statUf that exists in America to start life over. In the beginning, though, she was a meaning Bartholdi sought to convey, howe\ symbol of friendship between two nations. For purely selfish reasons, sonal in origin, as natural in theme, and as France had aided the United States in their revolution to break free from (Trachtenberg 32). No other theme could b colonial ties to Great Britain. France was also one of the first allies of the friendship between France, whose "Liberte, new United States of America when that nation was formed in 1776. the inalienable American right to "life, libel During the French Revolution, American patriots such as Thomas Paine ness." To personifY the concept ofliberty, h aided the French forces fighting for liberty, freedom, and democracy, and difficult. When President Lincoln prohibite America as a whole supported the First Republic of France. Two republics in 1863, and the Thirreenth Amendment Ie later, following the unexpected loss of the Alsace and Lorraine regions to Lincoln's proclamation, no longer could the Germany in the Franco-Prussian War of 1870, France turned to the dom from actual bondage. Instead, liberty I United States, which had just come out of a terrible war of its own, for diffuse concept, involving liberties of many guidance in re-establishing a democratic government. With the Third dom of citizens from undue constraints on Republic firmly established by 1875, France decided to present a gift to (Trachtenberg 64). Liberty could no longer the United States, not only as a symbol of the long-standing Franco­ had on a temple in the third century B.C. ; American friendship, but also as a commemoration ofAmerica's centennial rather she was now represented in pieces liL in 1876. The Franco-American Union saw to it that Bartholdi's Statue of Liberty Guiding the People (1830), Liberty proposal would be that gift. the aristocracy. Bartholdi's statue would ble stamp his concept of liberty on the minds· After Germany invaded his native Colmar, Bartholdi, like millions of refugees escaping war in Europe before him, left France, taking an extend­ With the theme in place, Bartholdi beg;; ed trip to the United States. Sailing into New York Harbor on June 21, struction of the statue. Unlike the smaller: 1871, Bartholdi wrote, "The image presented to the sight of a passenger had created, or even some of his larger piec arriving in New York is splendid, when, after some days of voyaging, the the Statue of Liberty by himself Instead, h https://digitalcommons.iwu.edu/rev/vol12/iss1/5 4 _. 26 ...,,;------­ Carden '00: Frederic Auguste Bartholdi and the Statue of LibertyCarden

:tholdi, as an official sculptor, recreated the pearly dawn reveals the magnificent scene of these great cities" (Blanchet Paris and throughout France. While works by 36). Several sources indicate-that as Bartholdi sailed into New York, he ,4ge ofBronze (1877) for example, were not as spotted Bedloe's Island in the middle of the bay and immediately modified ion ofBe/fort (1880), it is Rodin we remember his original idea for a lighthouse on the Suez into the Statue of Liberty. ; because Bartholdi found so much success Bartholdi decided to create not just a monument to Franco-American I very young, he did not feel the need to friendship like his later statue Washington and Lafayette (1892) but also "a to represent the internal structure of a figure work of profound moral worth" (Blanchet 36). On a tour of America that without much critical success, Bartholdi creat­ summer, Bartholdi presented his idea for the Statue of Liberty to a wide nents that the people wanted. At the same variety of people, including President Ulysses S. Grant. Finding an :statues, such as those created by Bartholdi, America that was receptive to his idea for the statue, Bartholdi returned to rom their creator. The statue itself is remem­ France, where an uncertain political situation forced Bartholdi to spend 'son who created it. l nearly three years working out his idea in models before the statue propos­ al could be made public. The idea of using "liberty" for this spectacular monument fit perfectly Harbor, as she did for the millions of immi­ within Bartholdi's artistic concerns, for it combined something personal, :d States ofAmerica at nearby Ellis Island, the occupation of Colmar by Germany,2 with a universal theme, which is a symbol of freedom and the opportunity could all be embodied in one colossal statue. For the statue to achieve the t life over. In the beginning, though, she was a meaning Bartholdi sought to convey, however, it had "to appear as imper­ 1 two nations. For purely selfish reasons, sonal in origin, as natural in theme, and as universal in appeal as possible" States in their revolution to break free from (Trachtenberg 32). No other theme could be more natural to mark a France was also one of the first allies of the friendship between France, whose "Liberte, Egalite, and Fraternite" mimics a when that nation was formed in 1776. the inalienable American right to "life, liberty, and the pursuit of happi­ ,n, American patriots such as Thomas Paine ness." To personifY the concept of liberty, however, was somewhat more ing for liberty, freedom, and democracy, and difficult. When President Lincoln prohibited slavery in the United States d the First Republic of France. Two republics in 1863, and the Thirteenth Amendment later added the force of law to ~d loss of the Alsace and Lorraine regions to Lincoln's proclamation, no longer could the idea of liberty simply be free­ ,ian War of 1870, France turned to the dom from actual bondage. Instead, liberty became "a much broader, more t come out of a terrible war of its own, for diffuse concept, involving liberties of many kinds, centering on the free­ democratic government. With the Third dom of citizens from undue constraints on their life by legitimate rulers" 'y 1875, France decided to present a gift to (Trachtenberg 64). Liberty could no longer be represented as the Romans s a symbol of the long-standing Franco­ had on a temple in the third century B.c. as hope for those in bondage; >as a commemoration of America's centennial rather she was now represented in pieces like Delacroix's revolutionary an Union saw to it that Bartholdi's Statue of painting Liberty Guiding the People (1830), leading the oppressed against at gift. the aristocracy. Bartholdi's statue would blend these two images and forever s native Colmar, Bartholdi, like millions of stamp his concept of liberty on the minds of all men. >pe before him, left France, taking an extend­ With the theme in place, Bartholdi began to work on the actual con­ 5ailing into New York Harbor on June 21, struction of the statue. Unlike the smaller sculptures or numerous busts he image presented to the sight of a passenger had created, or even some of his larger pieces, Bartholdi could not work on did, when, after some days of voyaging, the the Statue of Liberty by himself Instead, he had a workshop, with up to

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50 craftsman employed at the same time. While Bartholdi was not salaried went on exhibition at the same time the Stat as creator of the statue, the workmen had to be paid; like any major pro­ given to the United States in a Paris ceremor ject, funding was always a problem. Fortunately, the Franco-American remembered today and Bartholdi is often litt Commission came through for Bartholdi, first by collecting subscriptions, book on the statue. While Bartholdi's artistic

and later with a lottery that raised money to pay the workmen and pur­ happy, as they were given exactly what they 1 chase the 100 tons of copper and 125 tons of steel that would go into the good deal of money, it is not considered arti: statue before it was completed. Because political favor was not on his side of Liberty, both because it celebrates the 200 until 1875, Bartholdi could only exhibit Liberty's arm and torch at the France and the United States and because th 1876 Philadelphia Exposition in honor of America's centennial. The "liberty," that basic human desire to be able uncompleted sculpture, though, would get the American people as excited oppression, remains more significant than it1 about the statue as their French counterparts. Eventually, with some coax­ Today, 128 years after Bartholdi got his fi. ing from Joseph Pulitzer's New York World, Americans would raise enough at New York Harbor, his Statue of Liberty sti funds for the statue's pedestal. picked out-Bedloe's, now Liberty, Island. T A stone or clay version of the Statue of Liberty, the material from which innumerable images for public consumption Bartholdi's created his earlier works, would have been impossible to create War I used the symbol of Franco-American f because of the tremendous weight. Bartholdi "thought well beyond the port for a stalemated battle in northeast Fran image of what would be the world's tallest monument," and enlisted a Day, which conveniently has the statue destr Parisian with a penchant for steel, Gustave , to create an internal skele­ to stir the complacent Americans into action ton of steel for the statue, so that his sculpture could withstand the winds of statue is one of the most recognizable image! New York Harbor (ENR 46). While Eiffel would go on to create a tower of ered artistically significant. The advent of the his own three years after the Statue of Liberty left for America, "Eiffel antic­ places innovation and newness above the pre ipated skyscraper construction when he designed the Statue of Liberty's sup­ ability. The whole concept behind "Outsider porting frame" (ENR 46). Eiffel's steel skeleton, which Bartholdi covered Rousseau's compositions of the 1890s, relies with 350 thin plates of copper, was a true innovation in sculpting. A new new types of images for the public and art y,. vision of Liberty demanded a new approach to her creation. not a modernisr; he is a classicist. While he I niques in the Statue of Liberty---a steel skele Conversely, the reason the Statue of Liberty is the characteristic example Liberty a modern role, leading with her torc of Bartholdi's artistic concerns is precisely because the sculpture itself is not in a classical style. But as a classical sculptun artistically innovative. While the steel skeleton was a bold new idea, Bartholdi's Statue of Liberty has the potenti; Bartholdi did not go against artistic convention with his sculpture, as did people. While Bartholdi has essentially bem his painting and sculpting contemporaries, like Manet and Rodin. Rather, Statue of Liberty has come to mean so mud Bartholdi embraced popular desires and gave the people what they wanted. bly no other sculpture can approach its sign Partially because the Statue of Liberty was paid for by people's donations, Bartholdi could not create a piece like Claes Oldenburg's Free Stamp (1986) and expect to win overwhelming support from the citizens of two nations. At the same time, Bartholdi did not want to create an Oldenburg. NOTES Bartholdi's style was definitely classical, and the Statue of Liberty with her lOne source (New York Public Library) alsc torch aloft and broken chains at her feet clearly presents this style. What Bartholdi does not hold a place amongst til. image could be more classical than a woman wearing a robe? But it is because he was not collected. Apparently w because Bartholdi was not innovative like Rodin, whose Burghers of Calais and preliminary sketch for every pie­ https://digitalcommons.iwu.edu/rev/vol12/iss1/5 6 28 Carden '00: Frederic Auguste Bartholdi and the Statue of LibertyCarden

Ie same time. While Bartholdi was not salaried went on exhibition at the same time the Statue of Liberty was officially vorkmen had to be paid; like any major pro­ given to the United States in a Paris ceremony in 1884, that the Statue is ·oblem. Fortunately, the Franco-American remembered today and Bartholdi is often little more than one chapter in a Dr Bartholdi, first by collecting subscriptions, book on the statue. While Bartholdi's artistic style made many people raised money to pay the workmen and pur­ happy, as they were given exactly what they wanted, and made Bartholdi a : and 125 tons of steel that would go into the good deal of money, it is not considered artistically significant. The Statue :d. Because political favor was not on his side of Liberty, both because it celebrates the 200-plus year friendship between only exhibit Liberty's arm and torch at the France and the United States and because the statue epitomizes the idea of n in honor of America's centennial. The "liberty," that basic human desire to be able to live and breathe free from Igh, would get the American people as excited oppression, remains more significant than its creator. 1ch counterparts. Eventually, with some coax­ Today, 128 years after Bartholdi got his first glimpse of the United States =w York World, Americans would raise enough at New York Harbor, his Statue of Liberty still stands on the very island he 1. picked out-Bedloe's, now Liberty, Island. The statue has been used in the Statue of Liberty, the material from which innumerable images for public consumption. War Bond posters of World works, would have been impossible to create War I used the symbol of Franco-American friendship to stir American sup­ ·eight. Banholdi "thought well beyond the port for a stalemated battle in northeast France. Films like Independence world's tallest monument," and enlisted a Day, which conveniently has the statue destroyed by alien invaders, are used steel, , to create an internal skele­ to stir the complacent Americans into action. Ironically, even though the that his sculpture could withstand the winds of statue is one of the most recognizable images on Earth, it is rarely consid­ . While Eiffel would go on to create a tower of ered artistically significant. The advent of the modernist movement in art Statue of Liberty left for America, "Eiffel antic­ places innovation and newness above the previously important concern of n when he designed the Statue of Liberty's sup­ ability. The whole concept behind "Outsider Art," for example Henry i£rel's steel skeleton, which Bartholdi covered Rousseau's compositions of the 1890s, relies on the untrained producing er, was a true innovation in sculpting. A new new types of images for the public and to consume. Banholdi is 1 new approach to her creation. not a modernist; he is a classicist. While he uses modern construction tech­ niques in the Statue of Liberty---a steel skeleton, for example---and gives : Statue of Liberty is the characteristic example Liberty a modern role, leading with her torch, she was created and sculpted 1S is precisely because the sculpture itself is not in a classical style. But as a of an undefinable concept, . the steel skeleton was a bold new idea, Bartholdi's Statue of Liberty has the potential to mean many things to many artistic convention with his sculpture, as did people. While Bartholdi has essentially been separated from his piece, the mtemporaries, like Manet and Rodin. Rather, Statue of Liberty has come to mean so much to so many people that proba­ desires and gave the people what they wanted. bly no other sculpture can approach its significance. >fLiberty was paid for by people's donations, piece like Claes Oldenburg's Free Stamp erwhelming suppon from the citizens of two NOTES anholdi did not want to create an Oldenburg. ly classical, and the Statue of Liberty with her lOne source (New York Public Library) also indicated that one reason s at her feet clearly presents this style. What Bartholdi does not hold a place amongst the great sculptors of all time is J than a woman wearing a robe? But it is because he was not collected. Apparently when Banholdi died nearly every movative like Rodin, whose Burghers of Calais model and preliminary sketch for every piece he did was still in his studio. Published by Digital Commons @ IWU, 2000 7 29 r------..---""~.,"~ .. -. The UndergraduateUndergraduate Review Review, Vol. 12, Iss. 1 [2000], Art. 5

2 Germany occupied the formerly French regions of Alsace and Lorraine until after World War I. The area had always been a mixture of French and German natives, yet in losing the region to Germany in 1870, Alsace­ Lorraine became a rallying cry for France. In World War I, France actually attempted to invade Germany through the rough, hilly terrain that makes Lincoln's Courtships: up the region, leaving the northern areas of France, particularly near A Reflection of his Social ( , open to invasion by Germany. Bartholdi always considered his hometown an occupied territory and rarely returned there after 1870. By Erika Rozinek

BIBLIOGRAPHY n the myth and memory ofAmerican cu Austen, Ian. "The Lady of Liberry." Maclean's 7 July 1986: 16. remembered as a ladies' man or a man w Blanchet, Christian. Statue ofLiberty: The First Hundred Years. Trans. I ships with women. Biographers dubiousl Bernard A. Weisberger. New York: American Heritage Publishing Ann Rutledge, make light of his involvemen Co., 1985. Trans. of Statue de fa Liberte. 1985. interpret his courtship and marriage to Mat} Dillon, Wilton S. and Neil G. Kotler (eds.). The Statue ofLiberty Revisited seems to be that Lincoln was too ambitious, Washington D.C.: , 1994. too much of a "man's man" to trouble with '; Engineering News-Record (ENR). "1886 Liberry Rises." Engineering News­ in Illinois. However, much evidence exists to Record 242.2 (I999): 46. sought relationships with numerous women Galante, Pierre. "The Man Behind the Statue of Liberry." Good Furthermore, his experience with each of th~ Housekeeping203.1 (I 986): 101-106. development socially, even as he was rising p Starting out as a young man rumored to hav Gschaedler, Andre. Tr-ue Light on The Statue ofLiberty and its Creator. mately in New Salem, Lincoln emerged as t~ Narberth, Penn.: Livingston Publishing Co., 1966. Springfield's most educated, attractive, and ;) Hall, Alice J. "Liberry Lifts Her Lamp Once More." National Geographic July 1986: 2-23. Lincoln first came to lllinois in 1830 whe be focusing on his involvement with women Hayden, Richard Seth and Thirry W. Despont. Restoring the Statue of while de-emphasizing those fragments and r­ Liberty. New York: McGraw-Hill Book Company, 1986. due to their lack of substantiation and also t Mercer, Charles. Statue ofLiberty. Centennial ed. New York: G. P. 1831, Lincoln had left his father in Coles Co Putnam's Sons, 1985. dence in New Salem. It was here that Lincol New York Public Library. Liberty: the French-American statue in art and his­ a bashful boy who avoided contact with girl: tory. New York: Harper & Row Publishers, 1986. various ways to several different women. Price, Willadene. Bartholdi and the Statue ofLiberty. Chicago: Rand The testimony of Lincoln's friends and re McNally & Company, 1959. indicate that Lincoln showed little interest il Russell, John. "A Face that really launched 1,000 ships-and many more." mother remarked to William Herndon that Smithsonian 15.4 (I 984}: 47-55. girls as he seemed to me" (S. Lincoln 108). _ Trachtenberg, Marvin. The Statue ofLiberty. New York: Viking Press, 1976. that Lincoln "did not go much with the girl https://digitalcommons.iwu.edu/rev/vol12/iss1/5 8 30

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