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The Intersection Between Nationalism and Religion in The ABSTRACT Title of Document: The Intersection Between Nationalism and Religion: The Burghers of Calais of Auguste Rodin in the French Third Republic Jung-Sil Lee, Doctor of Philosophy, 2009 Directed By: Professor June Hargrove, Department of Art History and Archaeology As a republican, Auguste Rodin (1840-1917) conveyed political ideology in his public sculpture, but due to his interest in religion and spirituality, his interpretations differed from contemporary artists. He grafted national myths and symbols onto Catholicism and its rituals to facilitate the sacralization of the Republic. Yet, the tension between Catholicism and republicanism in his work persisted because of his religiosity and his adherence to secularism. Rodin’s conflict and compromise between the two fields were not only his personal dilemma, but also that of the Third Republic. This dissertation focuses on how Rodin internalized republican ideology in his public sculpture, and how he appropriated Catholic ritual to promote political messages. In spite of the republican government’s constant struggle to separate from Catholic domination, Catholicism was so deeply imbedded in French culture, Rodin recognized this complex paradigm which he co-opted to construct an ideological matrix for his public work. Aware of the powerful social role of religion, the First Republic tried to create a new religion based on deistic tradition, The Cult of Supreme Being, to unite all French people who were severely divided by factions, languages, and regionalism. This precedent tradition further proved the importance of religion’s social reach in constructing national sentiment. Based on research in Rodin museums in Paris and Meudon in 2004 and 2007, this study examines how Rodin merged Catholic practices and contemporary social ideologies into the fiber of nationalist identity that served to reconcile political oppositions in France and to heal wounded civic pride after the French defeat in the Franco-Prussian War. Similar to the public sphere proposed by Jürgen Habermas, Rodin’s public sculpture suggests ideal democratic communicative field. The Burghers of Calais is a prime example of the republican ideal of heroic martyrdom. At the same time, its overall form, figural arrangement, and poignant expressions invoke the Catholic practice of pilgrimage, drawing the audience into the scene’s emotional landscape. This interpretation of The Burghers of Calais as a religious and psychological catharsis paves the way for public sculpture to function as a healing tool to rebuild personal and national subjectivity. THE INTERSECTION BETWEEN NATIONALISM AND RELIGION: THE BURGHERS OF CALAIS OF AUGUSTE RODIN IN THE FRENCH THIRD REPUBLIC By Jung-Sil Lee Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009 Advisory Committee: Professor June Hargrove, Chair/Advisor Professor William Pressly Professor Donald Sutherland Associate Professor Anthony Colantuono Associate Professor Renée Ater © Copyright by Jung-Sil Lee 2009 This dissertation document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park’s library system. ii For Jesus Christ, My Lord iii Acknowledgements This dissertation grew out of my interest in French nineteenth century art and its intersection with nationalism and religion. I was first introduced to this interdisciplinary study during a seminar on nationalism with Dr. June Hargrove, my advisor. After researching nationalism and ritual theories while preparing my seminar paper, I then decided to explore further the ways in which nationalism, religion, and art have interacted, specifically with regard to creating a republican culture and a French national identity. I would like to express my special thanks to Dr. Hargrove, for her patience, encouragement, and thoughtful understanding. It would not have been possible to initiate or complete this dissertation without her guidance and cognizance, especially given my many obstacles. Dr. Hargrove has shared her keen insight and broad research as a scholar, and has thus been an invaluable role model for me. I am very grateful to my wonderful dissertation committee for their time, critique, and invaluable suggestions for future research. Dr. William Pressly has shared his precious knowledge and references for the French Republic, and it has been a privilege to have him on the committee. I would also like to thank Dr. Anthony Colantuono for continuing to direct me, as he had previously influenced me a great iv deal during his theory course years ago. I am grateful to Dr. Renée Ater for her specific comments and feedback to help me restructure the draft and reshape my theories. Finally, I thank Dr. Donald Sutherland, who kindly agreed to serve as my Dean’s representative, and helped me to draw a larger picture of French nationalism. I received much assistance and support to complete my dissertation. Of particular importance, was receiving the Travel Grant from the Iris and B. Gerald Cantor Foundation, which made possible my research trip to the Rodin Museums in Paris and Meudon. I truly appreciate Judith Sobol, the Executive Director of the Cantor Foundation, for her ongoing correspondence which consistently cheered me up. I am grateful to Mme. Marie-Pierre Delclaux, curator of documentation, for her assistance during my visit to the archive at the Museé Rodin in Paris, 2004. She kindly accommodated my visits, even when the museum was closed, and granted me permission to examine Rodin’s personal book collection. Likewise, Mme. Rapaël Masson, a curator and head of archives and the library, and Mme. Véronique Mattiussi, archivist at the Museum, helped me to locate resources at the archives of the Musée Rodin during 2007 trip. In the Musée Rodin at Meudon, I was fortunate to be granted the privilege to access Rodin’s bedroom and permission to photograph his large crucifix collection. I appreciate such unforgettable and generous support of the people in the Musée Rodin. v The Department of Art History and Archaeology at the University of Maryland, College Park offered critical funding throughout my graduate study. I am very grateful to the department for providing a museum fellowship in 2004 that enabled me to work at the Corcoran Gallery of Art, and to have participated in the exhibition of Joan of Arc. Special thanks go to my supervisor at the Corcoran, Dr. Laura Coyle, a passionate curator who challenged me to improve my research skills in various ways. Dr. Nora Heimann, co-curator of Joan of Arc exhibition, and Professor at the Catholic University of America, inspired me to identify the type of scholar that I intend to be, and her enthusiasm influenced my work immensely. I thank Dr. Barbara Larson for sharing her thoughts on Rodin’s religious stance and providing me valuable references. Additionally, the following professors at the University of Maryland influenced me to shape my ideas for the dissertation and taught me how to further develop critical thinking skills: Dr. Sally Promey, Dr. Steven Mansbach, Dr. Arthur Wheelock, and Dr. Majorie Venit. I would like to express my gratitude to the University of Maryland’s department members who have supported me faithfully. Dr. Lauree Sails and Dr. Quint Gregory of the Visual Resource Center always welcomed me into the department and provided me infinite and necessary technical support. I am grateful to Deborah Down, the graduate secretary, who also made me feel at home. Her smiles vi have given me great comfort along with her prompt handling of much paperwork. I cannot forget Kathy Canavan, former graduate secretary, who passed away in 2004, who was also a wonderful friend to me. I am enormously thankful to two former Graduate Directors, Dr. Meredith Gill and Dr. Shannen Hill, for writing on my behalf to secure my adjunct faculty position at the Corcoran College of Art for the last three years. While teaching at Corcoran College I have been blessed with wonderful and supportive colleagues: Dr. Dorothea Dietrich, former chair of Academic studies, Professor Bernard Welt, and my friends, Dr. Jogelina Orfila, Dr. Adrienne Childs, and Dr. Leslie Brice, who have been dear companions to me. I would like to give special thanks to Leslie, who has read my dissertation thoroughly with insightful comments and ceaseless encouragement. Without her support, I would not be submitting my dissertation. Other friends have been with me throughout this long journey and I have benefited greatly from their caring words and kind hearts: Of particular note are my friends in Korea, Jihyun Han, Aehyun Kim, and Juyeon Han at the Leeum Rodin museum in Seoul. They have showed me extremely faithful friendship whenever I needed it. I would like to extend my gratitude to Dr. Nanji Yun, Professor of Ewha Womans University, Seoul, who was an advisor for my master’s degree in Art History, and who has continues to be a role model for me, as both a scholar and a teacher. vii I am also grateful to my church members: Senior Pastor Jamie Wonki Kim, Pastor Seungmin Chang, and Pastor Jinsook Cho. They have prayed consistently and deeply for the completion of my dissertation and for my strength and endurance. Among many church members is the cell church, also known as the ’Oikos’ members, who have prayed for me extensively. My special thanks go to Dr. Yun Ki for her warm friendship and indispensable advice, which is heartfelt, and to Seulki Kim for her help in scanning images in addition to her emotional support. I also thank my friend, Sunhee Lee for her help with translation of German texts. Much appreciation goes to the Korean American Artist Association and to the Ewha Womans University Alumnae Association in Washington D.C for their support and encouragement, especially to the president, Komelia Hongja Kim, professor of Montgomery College.
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