The Exhibition the Artist
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A Passion for Rodin Set a Manhattan Couple on an Ambitious Collecting Journey& Covering the Past Century of Art History
dreamers creators A passion for Rodin set a Manhattan couple on an ambitious collecting journey& covering the past century of art history. By Margie Goldsmith • Photography by Billy Cunningham The collector looks up at his cast of “The Thinker.” Perhaps he is recalling what Rodin himself wrote about his sculpture: “The Thinker has a story. In the days long gone by I conceived the idea of the Gates of Hell. Before the door, seated on the rock, Dante thinking of the plan of the poem behind him ... all the characters from the Divine Comedy. This proj- ect was not realized. Thin ascetic Dante in his straight robe separated from all the rest would have been without meaning. Guided by my first inspiration I conceived another thinker, a naked man, seated on a rock, his fist against his teeth, he dreams. The fertile thought slowly elaborates itself within his brain. He is no longer a dreamer, he is a creator.” Rodin’s tale helps reveal why a boy from a small Mid- western town who became one of New York’s most suc- cessful fund managers would identify with a working-class sculptor whose masterpieces created a Rodin, “The Thinker,” conceived bronze bridge between 19th-century Romanticism and c. 1880 (this version was cast 20th-century Modernism. “I identify with the creativity and the before 1952), bronze with dark passion with which Rodin led his life,” says the collector, who brown and green patina. wishes to remain anonymous, as he continues to regard “The Charles Ephraim Burchfield, “Sultry Thinker.” “Look at the combination of strength, beauty and emo- Day” (right), 1957, watercolor on tional passion that Rodin manages to put in a lump of bronze. -
Materials & Process
Sculpture: Materials & Process Teaching Resource Developed by Molly Kysar 2001 Flora Street Dallas, TX 75201 Tel 214.242.5100 Fax 214.242.5155 NasherSculptureCenter.org INDEX INTRODUCTION 3 WORKS OF ART 4 BRONZE Material & Process 5-8 Auguste Rodin, Eve, 1881 9-10 George Segal, Rush Hour, 1983 11-13 PLASTER Material & Process 14-16 Henri Matisse, Madeleine I, 1901 17-18 Pablo Picasso, Head of a Woman (Fernande), 1909 19-20 STEEL Material & Process 21-22 Antony Gormley, Quantum Cloud XX (tornado), 2000 23-24 Mark di Suvero, Eviva Amore, 2001 24-25 GLOSSARY 26 RESOURCES 27 ALL IMAGES OF WORKS OF ART ARE PROTECTED UNDER COPYRIGHT. ANY USES OTHER THAN FOR EDUCATIONAL PURPOSES ARE STRICTLY FORBIDDEN. 2 Introduction This resource is designed to introduce students in 4th-12th grades to the materials and processes used in modern and traditional sculpture, specifically bronze, plaster, and steel. The featured sculptures, drawn from the collection of the Nasher Sculpture Center, range from 1881 to 2001 and represent only some of the many materials and processes used by artists whose works of art are in the collection. Images from this packet are also available in a PowerPoint presentation for use in the classroom, available at nashersculpturecenter.org. DISCUSS WITH YOUR STUDENTS Artists can use almost any material to create a work of art. When an artist is deciding which material to use, he or she may consider how that particular material will help express his or her ideas. Where have students seen bronze before? Olympic medals, statues… Plaster? Casts for broken bones, texture or decoration on walls.. -
Rodin Biography
Contact: Norman Keyes, Jr., Director of Media Relations Frank Luzi, Press Officer (215) 684-7864 [email protected] AUGUSTE RODIN’S LIFE AND WORK François-Auguste-René Rodin was born in Paris in 1840. By the time he died in 1917, he was not only the most celebrated sculptor in France, but also one of the most famous artists in the world. Rodin rewrote the rules of what was possible in sculpture. Controversial and celebrated during his lifetime, Rodin broke new ground with vigorous sculptures of the human form that often convey great drama and pathos. For him, beauty existed in the truthful representation of inner states, and to this end he often subtly distorted anatomy. His genius provided inspiration for a host of successors such as Henri Matisse, Constantin Brancusi and Henry Moore. Unlike contemporary Impressionist Paul Cézanne---whose work was more revered after his death---Rodin enjoyed fame as a living artist. He saw a room in the Metropolitan Museum of Art in New York dedicated to his work and willed his townhouse in Paris, the Hôtel Biron, to the state as a last memorial to himself. But he was also the subject of intense debate over the merits of his art, and in 1898 he attracted a storm of controversy for his unconventional monument to French literary icon Honoré de Balzac. MAJOR EVENTS IN RODIN’S LIFE 1840 November 12. Rodin is born in Paris. 1854 Enters La Petite École, a special school for drawing and mathematics. 1857 Fails in three attempts to be admitted at the prestigious École des Beaux-Arts. -
The Rodin Exhibition
The Rodin Exhibition Tata Theatre, March 19-April21, 1983 Pilloo R. Pochkhanawala [The Rodin Exhibition in New Delhi and Bombay offered Indian art lovers a unique opportunity to ·view the works of a great master. It was made poss1ble because of the keen interest of the French Government, specially Pres1dent Mitterand himself, . in strengthening relations between France and India. The Exhibition was presented in Delhi from November 7982 to January 1983. In Bombay, the Rodin Exhibition was inaugurated at the Tata Theatre on the 19th of March by Mr. H. K. L. Bhagat, Union Minister of State for Information and Broadcasting. Mr. J. J. Bhabha, Vice-Chairman of the National Centre for the Performing Arts, speaking on the occasion, said that this "magnificent exhibition bridged the gap between classica( and modern art". Among those present at the inauguration were M. Michel Posselle, Consul-General for France, M. Gerard Delaforge of the BANOUE INDOSUEZ, which so generously underwrote the exhibition costs, and Mr. J. R. D. Tata, Chairman of the National Centre for the Performing Arts, whose enthusiasm for the project helped to bring the exhibition here. 9 When the exhibition closed on the 21st of April, more than 50,000 visitors, from all walks of life, had seen the 99 pieces of sculpture so tastefully displayed inside and around the Tata Theatre by M. Guy de Ia Chevalerie, P~es.s and Information Officer of the Consulate of France (in Bombay) and Arttsttc Adviser to the Exhibition. The catalogue, amply illustrated with notes, information on each of the items, commentaries on Rodin's themes and extracts of his views, served as a useful aid to the visitor. -
146 Auguste Rodin Which the Carnal Act Seems Close at Hand
146 Auguste Rodin which the carnal act seems close at hand. As Rodin proclaimed, 1. William Harlan Hale, The World of Rodin, 1840–1917 (Time-Life 4 1840 – 1917 french “I have unbounded admiration for the nude. I worship it,” Jeune International, Nederland nV, 1962 [1972]), 9. fille au serpent (circa 1885) typifying sculpture of this nature.5 At 2. Hale, “A Trio of Humiliations,” World of Rodin, 113–39. Jeune fille au serpent just over a foot tall (15 3/4 x 5 7/8 x 6 3/4 inches), and with a loose 3. Quoted in Ian Chilvers, A Dictionary of Twentieth-Century Art bronze sculpture, signed and inscribed serpentine line running right through the piece, Jeune fille au (Oxford: Oxford University Press, 1998), 524. No. 5 / © by musée Rodin 1969 / Georges serpent likely has key historical significance with respect to how 4. Quoted in “Auguste Neyt, Model for ‘The Age of Bronze,’ Rudier Fondeur Paris Rodin’s sculpture sought to “give life” (Pygmalion-style) to clay, [photo by] Gaudenzio Marconi (1842–1885),” Musée Rodin, 15 3/4 × 5 7/8 × 6 3/4 in, 40 × 14.9 × 17.1 cm a founding theory since antiquity. This little piece foresees how para. 1, http://www.musee-rodin.fr/en/collections/photographies/ Provenance the sculptor’s work would eventually look—a far more curvaceous, auguste-neyt-model-age-bronze. Musée Rodin, Paris flowing and expressive art form, created in an era of late-century 5. For other casts of this work, see Antoinette Le Normand-Romain, Dominion Gallery, Montreal Symbolism,6 as opposed to more passive ideals of human beauty The Bronzes of Rodin: Catalogue of Works in the Musée Rodin (Paris: Acquired from the above by Augustus in earlier neoclassicism. -
The Psychology of Satan Jennifer Putnam This Paper Was Written for Dr
The Psychology of Satan Jennifer Putnam This paper was written for Dr. Thomas! Milton course. It was presented at the 2009 Sigma Tau Delta International Convention. John Milton!s Satan is a psychologically complex character. Satan has qualities which make him a brilliant leader, but which also cause him great pain. He is a militant ruler with powerful speeches, and a cunning deceiver with rich disguises. The actions Satan takes, however, cause him great an- guish. It is through his soliloquies that Satan takes off his mask and reveals the troubled person he really is. John Milton in Paradise Lost portrays Satan as a proud, passionately manipulative, and complex character that endures an internal conflict from which he cannot escape. Though Milton begins his masterpiece in medias res, we must start from the beginning with Satan as the angel Lucifer. Lucifer enjoys his high stature in Heaven, until the Son is anointed instead of him, and he becomes jeal- ous. It is then that Lucifer draws emotionally away from God and Heaven. James Holley Hanford and James Taaffe show the results of this jealousy by commenting, “Following God!s announcement of the Son!s elevation, Satan initially defected from the angelic forces” (172). His defection is a result of be- ing too proud of being a servant, which leads to anger and thus, his rebellion. Royland Frye points out the irony of Satan!s refusal to become a slave in that Satan actually becomes a slave to his emotions. Frye says, “As a result of his choice, he becomes a slave to what would, psychologically, be called an "ego- deal,! an identification of the self with an impossible image,” (35). -
Objects by Auguste Rodin on View at the National Gallery of Art As of February 7, 2017
NATIONAL GALLERY OF ART Objects by Auguste Rodin on view at the National Gallery of Art as of February 7, 2017 Rodin, Auguste SC French, 1840 - 1917 Bust of a Woman, 1875 terracotta with plaster and paint overall: 48.9 x 35.6 x 26.9 cm (19 1/4 x 14 x 10 9/16 in.) Inscriptions: on lower back: offert à madame & / monsieur J.W. Simpson / A. Rodin / 1908 / terre-cuite originale faite / en 1875 Gift of Mrs. John W. Simpson 1942.5.3 (A-67) G-003, CENTER [West Ground Floor Gallery 3] (01 Jul 2014) Rodin, Auguste SC French, 1840 - 1917 Bust of a Young Girl, 1868 terracotta with plaster overall (without base): 31.1 x 16.5 x 17.5 cm (12 1/4 x 6 1/2 x 6 7/8 in.) overall (with base): 40 x 16.5 x 17.5 cm (15 3/4 x 6 1/2 x 6 7/8 in.) Inscriptions: on back: BUSTE.FAIT.EN.1868 / RETROUVÉ.OFFERT.A.MMe K. Simpson / EN 1905 / A. RODIN Gift of Mrs. John W. Simpson 1942.5.4 (A-68) G-003, N, 3 [West Ground Floor Gallery 3] (01 Jul 2014) Rodin, Auguste SC French, 1840 - 1917 Statuette of a Woman, possibly early 20th century terracotta overall: 35 x 17.2 x 18.7 cm (13 3/4 x 6 3/4 x 7 3/8 in.) Inscriptions: on side of base below right hip: Rodin Gift of Mrs. John W. Simpson 1942.5.5 (A-69) G-001-C, W, 2, CASE 1 [West Ground Floor Gallery 1C] (07 Jan 2009) Rodin, Auguste SC French, 1840 - 1917 Statuette of a Woman, possibly early 20th century terracotta overall: 32.4 x 10.2 x 11.6 cm (12 3/4 x 4 x 4 9/16 in.) Inscriptions: behind left leg: Rodin Gift of Mrs. -
Fragments: Beyond the Object
! ! ! FRAGMENTS: BEYOND THE OBJECT David William Hamilton University of Tasmania March 2011 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Signed statement of originality The material presented in this exegesis is original, except where due acknowledgement is given, and has not been accepted for any other degree or diploma. ––––––––––––––––––––––––––––– David Hamilton ! "! Statement of authority of access This exegesis may be made available for loan and limited copying in accordance with the Australian Copyright Act 1968. –––––––––––––––––––––––––––––––––– David Hamilton ! ""! Abstract The project is an investigation of processes that contrive to influence how visual objects are viewed and interpreted. I believe that all artworks are composed of a combination of physical and conceptual fragments, with the physical object constituting but a small yet important part of the viewer’s perceptual experience. To me, the role of an art object is to be a specifically crafted initiator, setting in train a process that builds a vision of a whole that is more than the object itself. I contend that a fragment of an artwork has a definite edge, a point where its physical being ceases, but also marking a transition where an ambiguity begins: there is an unseen continuation which surrounds all art objects. This is explored through an overview of the fragment, particularly in Western sculptural and light forms. In a metaphoric sense, the undefined and ephemeral space beyond the object is inhabited by elements that fall in and out of focus: it is a place where cognition of them is always fleeting. It is these parts, not physically represented by the object, but merely inferred as a consequence of the object, that are the subject of investigation. -
2012 Sculpture
NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE MAY 3rd – JULY 6th, 2012 SHEPHERD & DEROM GALLERIES © Copyright: Robert J. F. Kashey and David Wojciechowski for Shepherd Gallery, Associates, 2012 TECHNICAL NOTE: All measurements are approximate and in inches and centimeters. Prices on request. All works subject to prior sale. CATALOG ENTRIES by Jennifer S. Brown, Elisabeth Kashey, and Leanne M. Zalewski. NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Exhibition organized by Robert Kashey and David Wojciechowski Catalog compiled and edited by Jennifer Spears Brown SHEPHERD & DEROM GALLERIES 58 East 79th Street New York, N.Y. 10075 Tel: 212 861 4050 Fax: 212 772 1314 [email protected] www.shepherdgallery.com NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Shepherd Gallery presents an exhibition of Nineteenth and Early Twentieth Century European Sculpture, which has been organized in conjunction with our new publication, Nineteenth and Early Twentieth Century European Sculpture: A Handbook. The exhibition corresponds to the handbook’s exploration of the materials, casting techniques, founders and editors involved in the making of sculpture in Europe from 1800 to 1920. On display are reductions and enlargements of individual models; plaster casts produced for special purposes; sculptures in a variety of media; and works that exemplify the aesthetic differences in chasing and modeling techniques from 1800 to 1920. Together, the handbook and the exhibition help the viewers to identify the complexities involved in the appreciation of sculpture from this period. CATALOG ALEXY, Károly 1823-1880 Hungarian School PRINCE EUGENE OF SAVOY, 1844 Bronze on square base. -
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. -
David Getsy Rodin
ROD IN Sex and the Making of MODERN SCULPTURE David J. Getsy YALE UNIVERSITY PRESS New Haven and London Copyright © 2010 by David J. Getsy CONTENTS All rights reserved. This book may not be reproduced, in whole or in part, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Permission to quote from Eric Gill’s papers courtesy of the William Andrews Clark Memorial Library, University of California Los Angeles, and the Bridgeman Art Library Designed by Gillian Malpass Acknowledgments vii Printed in Singapore Introduction 1 LIBRARY OF CONGRESS C ATALOGING -IN -P UBLICATION DATA Rodin : sex and the making of modern sculpture / David Getsy. p. cm. 1876 Includes bibliographical references and index. Michelangelo and Rodin’s Desires 29 ISBN 978-0-300-16725-2 (cl : alk. paper) 1. Rodin, Auguste, 1840 –1917 –Criticism and interpretation. 2. Sex in art. 3. Sculpture, modern –Technique. I. Title. 1900 NB 553. R7G 48 2010 Material Evidence, the Gates of Hell , and 730.92 –dc 22 the Making of Rodin 59 2010021334 Conclusion 173 Page i Unknown photographer, Auguste Rodin , c. 1890–1900 . Photograph, 15.7 × 20.3 cm. René Huyghe Archive, Department of Image Collections, Notes 194 National Gallery of Art, Washington, D.C. Image courtesy Board of Trustees, National Gallery of Art, Washington, D.C. Bibliography 221 Frontispiece Unknown photographer, Auguste Rodin posing with “The Kiss” in Marble, c. 1898 . Albumen print, 11.5 × 11.6 cm. Iris & B. -
The Necessity of Rodin by Eric Gibson
Features December 2017 The necessity of Rodin by Eric Gibson On four exhibitions across the world that commemorate the centennial of Auguste Rodin’s death. The idea was too tempting to resist: see as many of the displays commemorating the one-hundredth anniversary of Auguste Rodin’s death (born in 1840, he died in 1917) as possible, in an effort to take, once and for all, the measure of this artist and to come to terms with the paradox of his legacy. Though widely recognized as “the father of modern sculpture,” Rodin was repudiated by those who came after, most famously by Constantin Brancusi. No single exhibition has ever seemed equal to the task of capturing the essence of this artist. Perhaps, I thought, an approach as various and discontinuous as Rodin’s art itself, one that took in multiple exhibitions, would do the trick. The checklists would overlap, but the individual emphases would vary, producing a kaleidoscopic image of the artist through whose multiple facets and fragments might emerge a clearer picture than that provided by a unitary, more tightly circumscribed effort. But which exhibitions? There are eight in the No single exhibition has ever United States, one in France, and one in Mexico, as well as six permanent collection seemed equal to the task of installations in America. I eliminated any that capturing the essence of Rodin. didn’t focus exclusively on Rodin, and those featuring large numbers of the posthumous bronze casts that have so distorted our perception of the artist. That left four shows: Paris, New York, Philadelphia, and Cleveland.