sign in sign up
<<
Home , Sculpture

2018 DCA Lecture Series Series Sponsor Form in Space: Sculpture

laurelroad.com

The Implorer (L’Implorante) (1864-1943). Modeled 1898, cast ca. 1905. Metropolitan of Art Registration information

Series admission: Camille Claudel, , and Includes 4 lectures with gourmet luncheons Influence Undone $175 DCA members, $195 public Thursday, October 11 Single lecture with gourmet luncheon 11:00am $50 DCA members, $55 public Orpheus and Eurydice Auguste Rodin (French, Paris 1840 – 1917 Meudon). Modeled ca. 1887, carved 1893, . Gift of Thomas F. Ryan, 1910. Metropolitan Museum of Art Single lecture-only admission (walk-ins welcome Jane R. Becker, European but reservations recommended) Presented by: Associate $20 DCA members, $25 public Metropolitan Museum of Art Prepayment is required for all lunch reservations Brinda Kumar by noon on the Friday preceding each lecture, and Modern and , On the heels of a year that marked the 100th may be purchased at dariendca.org or through the anniversary of sculptor Auguste Rodin’s death, Metropolitan Museum of Art major sales of Camille Claudel’s work, and DCA office at 203-655-9050 extension 10. the opening of the Camille Claudel Museum Jane R. Becker Specially designed luncheons by Diane Browne European Paintings, in , we will examine the interactions Catering. Luncheons follow the lecture. of both the lives and the art of these two Metropolitan Museum of Art late nineteenth-century figures. The sculptor P E N T O E R Camille Claudel’s inventive and empathic S H T Milette Gaifman A T I A representations of the human body are little N E Associate Professor, Classical Scholar, known in this country. She was Rodin’s student, browne & co. Yale University 865 Boston Post Road, Darien, Connecticut 203.656.1920 lover, sometime collaborator, and muse. She was dbrowneandco.com H O G M N also his teacher, interlocutor, and receiver of his E I O R F TE Joan Pachner D A IA C passionate entreaties, as as an independent NE BROWNE female sculptor in an era when extremely few Independent Scholar, existed. Among the subjects to be explored Author, Smith Phaidon will be the legacy of Rodin, the nature of his 274 Middlesex Road influence on Claudel as well as Claudel’s on him, Darien, CT 06820 and the relationship of their artworks to their 203-655-9050 [email protected] tumultuous affair. dariendca.org Like Life: Sculpture, Color, and The Body, The Metropolitan Athena of ca. 1990, gilded 2002. Sculptor Alan Tanktotem IV, 1953, Tanktotem III, 1953, and 7/29/53, 1953, Museum of Art, The Met Breuer, March 21 - July 22, 2018 LeQuire, gilder Lou Reed. Full-scale replica of Athenian original. Bolton Landing Dock, Lake George, New York, 1953. Photograph Image © The Metropolitan Museum of Art The Parthenon, Nashville, TN by the .© Estate of /VAGA at ARS, NY Like Life: Sculpture, Color and the Athena of Parthenon: Icon of David Smith’s Figures Body (1300 – Now) Democracy Thursday, October 4 Thursday, October 18 Thursday, October 25 11:00am 11:00am 11:00am

Brinda Kumar, Assistant Milette Gaifman, Associate Professor Joan Pachner, Author, David Smith Modern and Contemporary Art and Phaidon, Catalog Raisonné Metropolitan Museum of Art Yale University In 1933 David Smith altered the course of American sculpture by together pieces The thematic Like Life: Sculpture, The lecture focuses on the 5th century B.C. of , a process used on car assembly lines, Color, and the Body (1300–Now) at The Met classical Greek of the - not in artist . His inspiration was a Breuer, brought together works from fourteenth- Athena the Virgin originally residing in the photograph he had seen in a French magazine century to the global present, to central sanctuary of the Parthenon in . of a welded sculpture from 1928 by explore how and why blur distinctions Towering over 40 feet tall, constructed of , which set the young artist on a between original and replica, between life and and an estimate of 2,400 lbs. of solid , her course to ignore rules that had governed and art. Contending with the traditions of Western wardrobe may have been the single greatest inhibited sculptors for centuries. Characterized , yet often going beyond that canon, financial asset of the city. The sculpture had all by a seemingly endless flow of formal artists have used strategies—from the use kinds of sculptural decorations--in her hand, inventions, Smith’s goal was never complete of color to mimic skin to the integration of Nike symbolizing victory. Representations of the abstraction; he was continually inspired by clothing—that can be surprisingly similar across mythological battles of the struggles between the human figure, although he did dismantle time and geographies. Material similarities the forces of justice and injustice, order versus and reimagine its form. He envisioned his work notwithstanding, the sculptures in the exhibition chaos, speak to the real battles in Athenian as a continuation of the flow of visual history embodied dramatically shifting attitudes toward society. On the base of the statue, Pheidias, reaching back to prehistoric times. This talk gender, race, class, sexuality, and religion over thought to be the original sculptor, added a will focus on sculptures from each decade of seven hundred years of sculptural practice. of the birth of Pandora, who is best known Smith’s revolutionary career, each intended as Like Life thus provided a point of departure for letting loose evils from her famous box. an example of his challenging, often humorous, for reexamining historical and contemporary Other representations of Athena Parthenos will reinterpretation of the human figure. preconceptions of the three dimensional body in be examined within the contexts of Athenian art. democracy and beyond.