Frederic Auguste Bartholdi and the Statue of Liberty
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Undergraduate Review Volume 12 Issue 1 Article 5 2000 Frederic Auguste Bartholdi and the Statue of Liberty Daniel J. Carden '00 Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/rev 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 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Carden '00: Frederic Auguste Bartholdi and the Statue of Liberty 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 artist from the art. Because most works of )ne's Own. London: 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 history of art 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 artists. 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 paper 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 sculptures out of wax, Bartholdi's colossal pieces tower over everything and everyone who see them. Inspired by the pyramids and the Sphinx on a trip to Egypt in 1855, Bartholdi told his companions that he would build a new statue for Egypt-twice the size Published by Digital Commons @ IWU, 2000 1 23 The UndergraduateUndergraduate Review Review, Vol. 12, Iss. 1 [2000], Art. 5 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). Colmar to sculpt a 12-foot-high statue of Ge Returning to Paris, 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 [, Alsace region of France. Bartholdi's first attempt at a life-size sculpture, of of this first monument 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 Suez Canal 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 commission 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 monuments. 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 ....,'" ' - 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 Napoleon. 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.