Kress Fellowship Provenance Research

Total Page:16

File Type:pdf, Size:1020Kb

Kress Fellowship Provenance Research Kress Fellowship Provenance Research 1995.70 2002.73 Alexander Archipenko Alexander Archipenko Ukrainian, active in France and the U.S.A., 1887-1964 Ukrainian, active in France and the U.S.A., 1887-1964 Standing Woman Combing Her Hair Geometric Statuette Also called: Statuette, Standing also called: Statuette, Woman; Barth 55 Woman; Schmoll-Heilmann 30 a (original plaster); ed. 6/8F (undescribed ed. of 4); Barth 63 1914 (model, casting date unknown) (original plaster); ed. 1/4; ed. 1/4 Cast bronze 1915 (model, edition date unknown) Without base: 27 1/4 x 9 x 6 in. (69.2 x Polished cast bronze 22.9 x 15.2 cm) 14 1/2 x 2 1/2 in. (36.8 x 6.4 cm) With base: 29-1/8 x 9 x 6 in. (74 x 22.9 Diameter of marble base: 2-1/8 x 3-3/4 x 15.2 cm) in. (5.4 x 9.5 cm) Gift of Paul and Susan Freehling in Gift of the Joel and Carole Bernstein memory of Mrs. Edna Freehling Family Collection 1974.226 1977.99 Hans (Jean) Arp Louis-Ernest Barrias French, born in Germany, 1886-1966 French, 1841-1905 Concrete Sculpture: Mirr Joan of Arc as a Prisoner 1/5 after 1892 1936 Cast bronze Cast bronze Height: 13 3/4 in. (34.9 cm) Overall: 7 3/8 x 5 x 6 3/4 in. (18.7 x Gift of Mrs. William Drews 12.7 x 17.2 cm) The Joel Starrels, Jr. Memorial Collection 1984.6 1987.15 Louis-Ernest Barrias Louis-Ernest Barrias French, 1841-1905 French, 1841-1905 Nature Unveiling Herself to Science Nature Unveiling Herself to Science after 1899 after 1899 Cast bronze with partial dore Cast bronze with partial gilt patination patination Height: 16 3/4 in. (42.6 cm) Height (with base): 28 1/2 in. (72.4 cm) Gift of Mr. and Mrs. John N. Stern Gift of John N. Stern TR2669 Albert Bloch American, 1882-1961 Night II (Nacht II) 1914 Oil on canvas 23 1/2 x 29 1/4 in. (59.7 x 74.3 cm) Framed: 32 × 38 in. (81.3 × 96.5 cm) Promised Gift of David and Mary Winton Green Page 1 of 21 Smart Museum of Art 1982.50 1987.52 Maurice Bouval Maurice Bouval French, c. 1870-c. 1920 French, c. 1870-c. 1920 Ruth Untitled (Standing Woman) c. 1900 n.d. Cast gilt bronze Cast bronze with partial dore 17 3/4 x 11 3/4 x 7 in. (45.1 x 29.9 x 17.8 patination cm) Height: 17 1/2 in. (44.5 cm) Gift of John N. Stern Mr. and Mrs. John N. Stern 1993.19 1993.23 David Burliuk Marc Chagall Russian, active in Japan and U.S.A., 1882-1967 Russian (Belorussian), active in France, 1887-1985 Fisherman The Dream probably 1929 c. 1938-1939 Oil on burlap Gouache on paper 13 x 18 in. (33 x 45.7 cm) Sheet: 15 5/8 x 19 1/2 in. (39.7 x 49.5 Framed: 18 9/16 × 23 9/16 in. (47.1 × cm) 59.8 cm) Gift of Lee and Suzanne Huston University Transfer, Gift of Joseph Ettelson Randall Shapiro 1992.25 1980.142 Alexandre-Louis-Marie Dimitri (Demeter) Chiparus Charpentier French, active early 20th century [Romanian, 1888-1950] French, 1856-1909 Female Dancer, Dancer with Inkwell (Encrier) or Starvation Coin-fringed Skirt (Affame) c. 1926 1894 Gilt bronze sculpture affixed to onyx Cast bronze base 9 x 10 in. (22.9 x 25.4 cm) 26 x 6 x 14 in. (66 x 15.2 x 35.6 cm) Gift of Mr. and Mrs. John N. Stern Gift of Mr. John N. Stern 1988.79 1977.102 Dimitri (Demeter) Chiparus Jules Dalou French, active early 20th century [Romanian, 1888-1950] French, 1838-1902 Untitled [female nude] Antoine-Laurent Lavoisier (1743-1794) c. 1925 c. 1886-1888 (model), this cast after Unglazed cast? earthenware 1892 Height: 22 1/2 in. (57.2 cm) Cast bronze with partial gilding Gift of Mr. and Mrs. John N. Stern 20 1/4 x 14 x 12 5/8 in. (51.4 x 35.5 x 32 cm) Purchase, Gift of the Friends of the Smart Gallery, 1977 1993.42 Marcel Debut French, 1865-1933 Immortality c. 1900 Cast bronze and marble Height: 10 1/8 in. (25.7 cm) Gift of John Stern Page 2 of 21 Smart Museum of Art 1974.146 1974.147 Attributed to Edgar Degas Edgar Degas French, 1834-1917 French, 1834-1917 Centaur Woman Stretching (Femme s'étirant) n.d. 1896-1917 (wax model), 1919-1921 Bronze (edition cast) Overall: 9 3/8 x 6 3/8 x 3 7/8 in. (23.8 Cast bronze x 16.2 x 9.8 cm) Height: 14 3/8 in. (36.5 cm) The Joel Starrels, Jr. Memorial The Joel Starrels, Jr. Memorial Collection Collection 1990.10 2015.2 Ferdinand Delperier Paul Delvaux French, active 1900 Belgian, 1897-1994 Leaf-shaped Plaque Water Nymphs (Les Nymphes des c. 1900 eaux) Cast bronze September 1938 Length: 18 3/4 in. (47.6 cm) Oil on canvas Gift of Fay S. Stern 51 3/16 × 59 1/16 in. (130 × 150 cm) Framed: 61 3/4 × 69 5/8 in. (156.8 × 176.8 cm) Gift of Helen and Sam Zell 1973.76 1974.152 André Derain André Derain French, 1880-1954 French, 1880-1954 A Wide Landscape with Mountains The Warrior (Le Guerrier) n.d. Cailler 9 Pencil on wove paper 1940 17 x 22 in. (43.2 x 55.9 cm) Bronze relief sculpture mounted on Framed: 17 x 22 in. (43.2 x 55.8 cm) plexiglass backing and affixed to Bequest of Joseph Halle Schaffner in wooden base memory of his beloved mother, Sara H. With base: 10 x 4 5/8 x 3/4 in. (25.4 x Schaffner 11.7 x 1.9 cm) Height without base: 7 5/8 in. (19.4 cm) The Joel Starrels, Jr. Memorial Collection 1974.159 1974.310 André Derain André Derain French, 1880-1954 French, 1880-1954 Woman of Mystery (Femme du Portrait of Young Girl with Auburn Mystere) Hair Cailler 17; Ed. 6/11 c. 1925-1926? c. 1939-1950 Oil on canvas Bronze sculpture affixed to L-shaped 25 x 20 1/2 in. (63.5 x 52.1 cm) terrazzo base Frame: 32-1/8 x 28-1/8 in. (81.6 x 71.4 Without base: 8 x 4 3/4 in. (20.3 x 12.1 cm) cm) Gift of Mrs. Maguire With base: 10-5/8 x 5 in. (27 x 12.7 cm) The Joel Starrels, Jr. Memorial Collection Page 3 of 21 Smart Museum of Art 1973.78 1974.291 Raoul Dufy Raoul Dufy French, 1877-1953 French, 1877-1953 A Kneeling Figure L'Oasis n.d. n.d. Gouache on paper Watercolor and pencil on paper 21 3/8 x 13 3/4 in. (54.3 x 34.9 cm) Sheet: 17 5/8 x 22 in. (44.8 x 55.9 cm) Right height x bottom width: 21-5/16 x The Joel Starrels, Jr. Memorial 13-11/16 in. (54.1 x 34.7 cm) Collection ; Framed: 26 x 20-7/8 x 1-5/8 in. (66 x 53 x 4.1 cm) Bequest of Joseph Halle Schaffner in memory of his beloved mother, Sara H. Schaffner 1974.309 1974.289 Raoul Dufy Natalia Dumitresco French, 1877-1953 French, born in Romania, b. 1915 Boats and Landscapes Blue Abstract (Composition) n.d. n.d. Black crayon Painting Framed: 23 x 27 1/4 x 7/8 in. (58.4 x The Joel Starrels, Jr. Memorial 69.2 x 2.2 cm) Collection Bequest of Joseph Halle Schaffner in memory of his beloved mother, Sara H. Schaffner 1974.298 2008.15 Natalia Dumitresco Max Dungert French, born in Romania, b. 1915 German, 1896-1945 Untitled Landscape n.d. c. 1920 Painting Oil on canvas The Joel Starrels, Jr. Memorial 28 x 32 in. (71.1 x 81.3 cm) Collection Framed: 34 7/8 × 38 15/16 in. (88.6 × 98.9 cm) Purchase, The Paul and Miriam Kirkley Fund for Acquisitions 1973.81 1973.132 Michel Elia Jacob Epstein French, b. 1903 British, born in U.S.A., 1880-1959 Head of an Infant Fourth Portrait of Kathleen (laughing) n.d. Silber 222; Ed. of 10 Marble 1933 Without base: 5 3/4 x 4 1/4 x 6 in. (14.6 Cast bronze x 10.8 x 15.2 cm) Height: 14 in. (35.6 cm) Height with base: 8-1/4 in. (21 cm) Bequest of Joseph Halle Schaffner in ; Base: 2-1/2 x 4 x 4-1/16 in. (6.4 x 10.2 memory of his beloved mother, Sara H. x 10.3 cm) Schaffner Bequest of Joseph Halle Schaffner in memory of his beloved mother, Sara H. Schaffner Page 4 of 21 Smart Museum of Art 1983.116 1973.176 Hans Fechner Gabriel Marc Louis Ferro German, 1860-1931 French, 1903 - 1981 Agnes Samson Vieux Remorqueur a L'Hareton 1896 1945 Oil and pastel on canvas board Oil on canvas 49 1/4 x 40 3/4 in. (125.1 x 103.5 cm) 14 3/4 x 21 3/4 in. (37.5 x 55.2 cm) Framed: 54-1/2 x 45-1/2 in. Framed: 20 1/2 × 27 3/8 in. (52.1 × Gift of Mr.
Recommended publications
  • 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]
  • Tangents 1 Publishing Notes Letter from the Editors
    summer 2006 the journal of the master of liberal arts program at stanford university in this issue... Essays by Jennifer Swanton Brown, Jennifer Burton, John Devine, Nancy Krajewski, Denise Osborne, Loren Szper, and Bryon Williams Fiction by Andy Grose Poems by Jennifer Swanton Brown, Tamara Tinker, and Mason Tobak summer 2006 the journal of the master of liberal arts program at stanford university volume 5 in this issue... 4 The Silk Horse Andy Grose 10 A Flood of Misborrowing: Sin and Deluge in Atrahasis and Genesis Bryon Williams 17 Three Poems of Love-Gone-Bad Mason Tobak 20 William James Observes San Francisco’s Reliance John Devine 27 The Burghers of Calais: A Personal Viewing Experience Jennifer Burton 31 Dionysus at Sea Tamara Tinker 32 Marriage in The Odyssey: An Intimate Conversation Jennifer Swanton Brown 34 A Deadly Agent of Change: The 1832 Parisian Cholera Epidemic and the French Public Health Movement Loren Szper 39 On the Path to the Pond Jennifer Swanton Brown 40 Kierkegaard in Wyoming: Reflections on Faith and Freedom in the High Mountains Nancy Krajewski 44 Do Laws Govern the Evolution of Technology? Denise Osborne 48 Contributors tangents 1 Publishing Notes letter from the editors This is a publication featuring the w ork of students and We are proud to present this issue of Tangents, the journal of the Stanfor d Master alumni of the Master of Liberal Arts Program at of Liberal Arts Program. For the fifth edition we ha ve chosen a diverse gr oup of Stanford University. works by students and alumni, including: Editor Oscar Firschein A story about two brothers and a powerful horse Assistant Editor Three quite varied poems Lindi Press Reviewers To celebrate the centenary, William James’s observations about the Oscar Firschein San Francisco earthquake Mary MacKinnen Lindi Press Some thoughts about marriage in The Odyssey Faculty Advisor A discussion of the 1832 Parisian Cholera epidemic Dr.
    [Show full text]
  • Rodin / Themuseum of Modern Art,Newyork
    RODIN / THEMUSEUM OF MODERN ART,NEWYORK ~\ MoMAExh_0721_MasterChecklist CATALOGUE OF THE EXHIBITION April 30 throJlgll September 8,1963 The dates given for each work generally refer to the 3 The Walking Man, Enlarged version. Plaster 1900 tp3.'U",Z original version in plaster. When two dates arc given, (Goldschcider), I905 (Elsen); bronze 1907 (Elsen); the first designates the original plaster, and the second chis cast 1962, no. 6 of 12, S3%" high. "Georges the date of the fmc castingin bronze (which, however, Rudier IFondeur. Paris." (Grappe 3S). Musee may not be that of the cast exhibited). References are Rodin, Paris given to Georges Crappe's catalogue of the Musce 4 St. Johll lite Baptist Prcachillg (St. Jett/I-Baptiste ~1.SS Rodin (r944 edition) whenever the works are listed priJclwl/t). (IS7S-S0). Bronze (IS80), 7S%" high. in that catalogue (although not necessarily in the same "Alexis RudierjFondeur Paris." (Grappe 40). The medium or scale). Certain dates have been revised by Museum of Modern Art, New York. Mrs. Simon Mme Cecile Goldscheider, Curator of the Musco Guggenheim Fund Rodin, Paris and Albert E. Elsen, author of the mono- graph, Rodin, published by The Museum of Modem MONUMENTS An in conjunction with this exhibition. According to Mine Goldscheider, Rodin's accounts have not been 5 Thc Call to Arll1s (L'Appcl aux arlilcs) (La DeJellse). fJ>3.4~O preserved and it is generally not possible to determine (1878). Bronze, 44%" high. "Alexis RodierI ~ the date of the first casting. It is hoped, however, that Pondeur. Paris." (Grappe 42). The Rodin Museum, J~~'1 further study and research now in progress may yield Philadelphia (See note) more accurate dates.
    [Show full text]
  • Matisse & Rodin
    Caterina Y. Pierre exhibition review of Matisse & Rodin Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Citation: Caterina Y. Pierre, exhibition review of “Matisse & Rodin,” Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010), http://www.19thc-artworldwide.org/autumn10/matisse- a-rodin. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Pierre: Matisse & Rodin Nineteenth-Century Art Worldwide 9, no. 2 (Autumn 2010) Matisse & Rodin Musée Rodin, Paris, France October 23, 2009 – February 28, 2010 Matisse & Rodin Contributions from Louis Mézin, Dominique Viéville, Claude Duthuit, Nadine Lehni, Marie- Thérèse Pulvenis de Seligny, Antoinette Le Normand-Romain, Isabelle Monod-Fontaine and Hélène Pinet. Paris : Éditions du musée Rodin and Réunion des musées nationaux, 2009. 160 pp. with color and B&W illustrations, bibliography, chronology, and exhibition checklist. 35 € ISBN: 978-2-7118-5612-1 (Paris : Réunion des musées nationaux) ISBN: 978-2-35377-012-0 (Paris : Éditions du musée Rodin) Whether or not one agrees that Auguste Rodin (1840-1917) was the greatest sculptor at the turn of the century, one cannot deny that he was certainly the most influential sculptor of his day. Every young sculptor in 1900 either wanted to be Rodin or to symbolically obliterate him. By that year, he was a powerful force in the art world, fresh from the success of his private retrospective held at the Pavillon de l'Alma in Paris. Rodin's art was irrefutably the measure by which all contemporary sculpture was being judged.
    [Show full text]
  • Cellini's Perseus and Medusa: Configurations of the Body
    CELLINI’S PERSEUS AND MEDUSA: CONFIGURATIONS OF THE BODY OF STATE by CHRISTINE CORRETTI Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Dissertation Advisor: Professor Edward J. Olszewski Department of Art History CASE WESTERN RESERVE UNIVERSITY January, 2011 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Christine Corretti candidate for the Doctor of Philosophy degree.* (signed) Professor Edward J. Olszewski (chair of the committee) Professor Anne Helmreich Professor Holly Witchey Dr. Jon S. Seydl (date) November, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. 1 Copyright © 2011 by Christine Corretti All rights reserved 2 Table of Contents List of Illustrations 4 Abstract 9 Introduction 11 Chapter 1 The Story of Perseus and Medusa, an Interpretation 28 of its Meaning, and the Topos of Decapitation Chapter 2 Cellini’s Perseus and Medusa: the Paradigm of Control 56 Chapter 3 Renaissance Political Theory and Paradoxes of 100 Power Chapter 4 The Goddess as Other and Same 149 Chapter 5 The Sexual Symbolism of the Perseus and Medusa 164 Chapter 6 The Public Face of Justice 173 Chapter 7 Classical and Grotesque Polities 201 Chapter 8 Eleonora di Toledo and the Image of the Mother 217 Goddess Conclusion 239 Illustrations 243 Bibliography 304 3 List of Illustrations Fig. 1 Benvenuto Cellini, Perseus and Medusa, 1545-1555, 243 Loggia dei Lanzi, Florence, Italy. Fig. 2 Donatello, Judith and Holofernes, c. 1446-1460s, Palazzo 244 Vecchio, Florence, Italy. Fig. 3 Heracles killing an Amazon, red figure vase.
    [Show full text]
  • RODIN: TRUTH, FORM, LIFE Selections from the Iris and B
    Fairfield University DigitalCommons@Fairfield RODIN: TRUTH, FORM, LIFE: Selections from the Iris and B. Gerald Cantor Collections - RODIN: TRUTH, FORM, LIFE: Selections from Ephemera the Iris and B. Gerald Cantor Collections Spring 2020 RODIN: TRUTH, FORM, LIFE Selections from the Iris and B. Gerald Cantor Collections Wall Labels Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/rodin-cantor-ephemera This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item 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. For more information, please contact [email protected]. When Rodin sat for this photograph in ca. 1880, he was about 40 years old and about to begin work on The Gates of Hell and The Burghers of Calais. Rodin in his studio in Meudon, about 1902. A study for the Monument to Balzac is on the right in the photo. Rodin’s studio at Meudon about 1900, with the plaster version of The Gates of Hell. Balzac in Dominican Robe Modeled 1893, cast 1981 Georges Rudier Foundry (published by Musée Rodin, edition of 12, numbered 9/12) Bronze Lent by Iris Cantor In this sculpture, Rodin elongates Balzac’s fgure and also introduces some indications of his life and career in the monk’s robe (his preferred apparel when writing), and the pile of books and papers at his feet.
    [Show full text]
  • L'enfant Prodigue
    L’Enfant Prodigue - The Prodigal Son Auguste Rodin’s sculpture “The Prodigal Son” is a vivid new interpretation of a biblical story that has inspired artists throughout the ages and up to the present day. The parable of the prodigal son is found in the New Testament, Luke 15:11. A man had two sons. The younger of the two asks his father for his share of their inheritance, which the father grants him. Shortly thereafter, he leaves his father’s house and has soon squandered what he was given. In deepest need, he has no choice but to return to his father and ask his forgiveness. The parable has many meanings, but in simple terms it is the story of how man can lose everything through carelessness but if he returns to God (his father’s house) he will find charitable redemption. The great drama surrounding the moment of return has inspired many artists, and both Rembrandt and Brancusi have portrayed the scene. There are also countless paintings and illustrations of the return of the prodigal son. Auguste Rodin’s “Prodigal Son” is a masterly sculptural scene in bronze: the deep despair of the son, his tense, tormented body forming an arc rising from the heavy mass, seemingly in an endless movement. The dramatic subject, the return of the prodigal son, is usually portrayed with both father and son present, but Auguste Rodin’s sculpture features only the son and his anguish. It is a remarkably vivid and slightly impressionist sculpture, where the presence of the father is merely implied.
    [Show full text]
  • The Fragment As a Manifestation of Non-Finito in Auguste Rodin's
    The Fragment as a Manifestation of Non-Finito in Auguste Rodin’s Oeuvre A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of the Arts By Sarah Bartram May, 2016 Thesis written by Sarah Bartram B.A., The University of Akron, 2014 M.A., Kent State University, 2016 Approved by _____________________________________ Albert Reischuck, MA, Advisor ____________________________________ Christine Havice, Ph.D., Director, School of Art _____________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of Arts TABLE OF CONTENTS LIST OF FIGURES…………………………………..…………………………………..iv ACKNOWLEDGEMENTS...……………………………………………………………vii I. INTRODUCTION……………..………………………………………………………..1 II. NON-FINITO, MICHELANGELO, AND RODIN’S WORKSHOP………………….6 III. THE AMPUTATED FORM……………………………………..………………..…19 IV. THE ISOLATED BODY PART.…………………………………………………....30 V. ASSEMBLAGES………………………………..……………………………………39 VI. CONCLUSION………………………………………………………………………55 BIBLIOGRAPHY………………………………………………………………………..56 FIGURES……………………………………………………………………..………….61 iii LIST OF FIGURES Figure Artist, Title, Date Page 1. Auguste Rodin, The Walking Man,1907,………………………………………...…..60 2. Auguste Rodin, Danaïd,1889. ……………………………………………………....60 3. Auguste Rodin, Fugit Amor, ca. 1885, Marble carved ca. 1892-1894………..…......61 4. Auguste Rodin, I Am Beautiful, modeled 1885……………………………………...61 5. Auguste Rodin, St. John the Baptist, 1878……………………………………..……62 6. Auguste Rodin, The Shade, modeled 1881-1886…………………………………….62
    [Show full text]
  • Auguste Rodin
    Auguste Rodin a biography Timeline FranÇois-Auguste-René Rodin was born in Paris to working- the male figure that critics familiar with the polished surfaces of nudes sculpted by academic artists accused class parents on November 12, 1840. His received his formal Rodin of taking casts of his model’s body. Rodin sharply denied this and had photographs taken of his model 1840 François-Auguste-René Rodin training at the Petite Ecole where he studied the fundamentals to prove that he had indeed altered what he saw to create an artistic vision. 1840 of drawing and sculpture1854 to 1857. Rodin then applied Thesuccé de scandale and flurry of critical writing on his work is born on November 12 in Paris three times to the Ecole des Beaux-Arts, and each time he brought Rodin to the attention of the public. In the spring of 1880 he was rejected. This was a serious setback to his career, as it was again exhibited The Age of Bronze, this time in bronze, at the Paris Salon, necessary to attend this school to gain the prestige and training where it received third prize. In 1900 at the Exposition Universelle in to exhibit in Salons and receive public commissions. Thus, Paris, Rodin organized the first large retrospective of his work, which from the late 1850s until he won a prize at the 1880 Paris insured his position as the leading sculptor of his age. 1845 Salon, Rodin worked as a commercial artist, making decorative Rodin quickly developed a distinctive personal style quite unlike figures for buildings, sculptural groups, and portraits.
    [Show full text]
  • Art Lesson.Sculpture.Indd
    Experience the Enchantment T E A C H I N G T H R O U G H A R T A r t L e s s o n P l a n T i t l e : Foil Rodin Sculpture C o n c e p t : Sculpture and Emotion I d e a : Students will create a sculpture that represents human movement. Tasks / Objectives Aesthetics & Criticism Students will ask questions about the value of sculpture. What constitutes a sculpture? How is sculpture different from other art media? Does sculpture have value? Is sculpture important? If so, why is it important? Students will ask questions about the purpose of sculpture. What does it tell us about the subject? Auguste Rodin, (French, 1840-1917), Despair, Historical and Cultural Perspectives c. 1880. Bronze, 91/2”. Collection of Maryhill Students will look at and compare images of sculptures by Museum of Art. Photo by Jerry Taylor. Auguste Rodin, then students will talk about what the artist sought to achieve in his sculpture. Create, Present and Perform Students will create a sculpture by manipulating and shaping a sheet of aluminum foil into the shape of a human form, emphasizing human movement in the product. Need to know/have ready Benchmarks for your grade levels are determined by the educator’s district or state. Visual & Literary Resources Maryhill Museum of Art Auguste Rodin Collection. Click link for image to print for classroom use. 1) Auguste Rodin, (French, 1840-1917), Despair, c.1880. Bronze, 91/2”. 2) Auguste Rodin, (French, 1840-1917), The Thinker, c.1880.
    [Show full text]
  • Museum of Modern Art (New York, N.Y.) 1963 the Museum of Modern
    Rodin Author Museum of Modern Art (New York, N.Y.) Date 1963 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2797 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art RODIN / THE MUSEUM OF MODERN ART, NEW YORK TRUSTEES OF THE MUSEUM Modern Art, I take this opportunity to express my OF MODERN ART gratitude to all the individuals who have helped in the realization of this important event. First of all, I want David Rockefeller, Chairman of the Board; Henry Al to thank the four museums which have been most im len Moe, William S. Paley, Mrs. Bliss Parkinson, Vice- portant in this endeavor. The California Palace of the Chairmen; William A. M. Burden, President; James Legion of Honor, San Francisco, is participating in the Thrall Soby, Ralph F. Colin, Gardner Cowles, Vice- presentation of this exhibition in the United States and Presidents; Alfred H. Barr, Jr., *Mrs. Robert Woods has lent many essential works. We are especially grate Bliss, *Mrs. W. Murray Crane, John de Menil, Rene ful to its director, Mr. Thomas C. Howe and to Mr. d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel Gaillard Ravenel. We are greatly indebted to the B. Ford, *A. Conger Goodyear, *Mrs. Simon Gug Rodin Museum in Philadelphia and its director, Mr. genheim, Wallace K. Harrison, jMrs. Walter Hoch- Henri Marceau; the Musee Rodin in Paris and its schild, *James W.
    [Show full text]
  • CHALLENGING TRADITION: NINETEENTH-CENTURY SCULPTURE (Rodin and Brancusi) AUGUSTE RODIN
    CHALLENGING TRADITION: NINETEENTH-CENTURY SCULPTURE (Rodin and Brancusi) AUGUSTE RODIN Online Links: Auguste Rodin - Wikipedia Rodin's Gates of Hell – Smarthistory Rodin's Burghers of Calais – Smarthistory The Rodin Museum Rodin - Metropolitan Museum of Art Burghers of Calais - An Educator's Resource from the Metropolitan Museum of Art CONSTANTIN BRANCUSI Online Links: Constantin Brâncuşi - Wikipedia, the free encyclopedia The Art Story: Artist - Constantin Brancusi Bird in Space - Wikipedia, the free encyclopedia Brancusi's Bird in Space - Smarthistory Video Brancusi's Kiss - Art News Article François-Auguste-René Rodin (12 November 1840 – 17 November 1917), known as Auguste Rodin was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. He was schooled traditionally, took a craftsman- like approach to his work, and desired academic recognition, although he was never accepted into Paris's foremost school of art. Many of his most notable sculptures were roundly criticized during his lifetime. They clashed with the predominant figure sculpture tradition, in which works were decorative, formulaic, or highly thematic. Rodin's most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, and celebrated individual character and physicality. Auguste Rodin. The Age of Bronze, 1875-6, bronze In Brussels, Rodin created his first full- scale work, The Age of Bronze, having returned from Italy. Modelled by a Belgian soldier, the figure drew inspiration from Michelangelo's Dying Slave, which Rodin had observed at the Louvre. Attempting to combine Michelangelo's mastery of the human form with his own sense of human nature, Rodin studied his model from all angles, at rest and in motion; he mounted a ladder for additional perspective, and made clay models, which he studied by candlelight.
    [Show full text]