DOCSLIB.ORG

Jean-Baptiste Carpeaux's Fontaine Des Quatre-Parties

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jean-Baptiste Carpeaux's Fontaine Des Quatre-Parties !: 9 090/'1*0,'' 6$.+55'&505*' #%6-590(5*'0--')'0( 354#/&%+'/%'4 0( .'3+%#//+7'34+59 +/#35+#-6-(+--.'/50( 5*''26+3'.'/54(035*'')3''0( #45'30( 354 / 35+45039 *#+3 6-+'5'--08*'55 '--0- 88 ** "+/)*'/'/)**''//'/)) ** '#/0(5*'0--')'0( 354#/&%+'/%'4 April 30, 2020 #5' .'3+%#//+7'34+59 #4*+/)50/ © COPYRIGHT by Hoyon Mephokee 2020 ALL RIGHTS RESERVED AT THE CENTER OF THE GLOBE: JEAN-BAPTISTE CARPEAUX’S FONTAINE DES QUATRE-PARTIES-DU-MONDE, 1867-74 BY Hoyon Mephokee ABSTRACT ComMissioned in 1867 and installed in 1874, Jean-Baptiste Carpeaux’s (1827-1875) Les Quatre parties du monde soutenant la sphère céleste (The Four Parts of the World Supporting the Celestial Sphere), also referred to as the Fontaine des Quatre-Parties-du-Monde (Fountain of the Four Parts of the World), is a public sculpture that adorns a fountain at the LuxeMbourg Gardens in Paris. The Monument sits on the axis between the LuxeMbourg Palace and the Paris Observatory and depicts four nude feMale figures who support a celestial sphere, and who represent the four continents—Europe, AMerica, Africa, and Asia—through their distinct physiognomic features. This thesis interrogates the work’s racial iconography and spatial relationship to sites that eMbodied French political and scientific authority during the Second French EMpire. Reading the Monument’s iconography in relation to its placeMent in the charged space of HaussMannized Paris, I suggest that Napoléon III intended Carpeaux’s work to affirm his right to govern and his need to unite a divided French nation. The Fontaine eMbodied the contradictions of Napoléon III’s political Messaging, as his regiMe outwardly chaMpioned progressive ideals, while it built and sustained itself on iMperial and racial conservatisM and French racial and political superiority. ii ACKNOWLEDGMENTS I aM deeply appreciative of the AU Art History faculty for extending to Me the opportunity to be a part of this incredibly challenging and rewarding prograM. I aM grateful to Dr. Juliet Bellow for always being available and willing to guide Me and My projects. Her Mentorship has been indispensable, from our first conversation about graduate school in the sumMer of 2018 to the completion of this thesis. I would like to thank Dr. Ying-Chen Peng, whose insights shaped the direction of a significant portion of this project. I would also like to acknowledge Dr. Nancy Rose Marshall for instilling in Me a love of nineteenth-century European art during My undergraduate years at the University of Wisconsin-Madison, and for encouraging Me to pursue this graduate degree. The priMary research that went into this thesis was Made possible by the late Dr. Carol Bird Ravenal, whose award allowed Me to travel to France in the sumMer of 2019; Jaylynn Saure, the administrative coordinator and unsung hero of our departMent; Cécile Gérard at the Archives Municipales de Valenciennes, who sent Me scans of archival documents; and Nadège Horner at the Musée d’Orsay, who generously provided me with her own archival transcriptions. I aM thankful to My peers in the cohort for welcoming Me into the prograM and for their eMotional and intellectual support. I aM, likewise, thankful to My college roomMates and My friends from home, who were willing to listen to Me talk about My project ad nauseaM, and whose Messages and calls kept me siMultaneously grounded and afloat. Finally, I aM indebted to My faMily. My parents, Chanin Mephokee and Yi Yangshin, are My acadeMic role Models. I credit this degree and thesis to their unconditional love, patience, and support, as well as to what I can only describe as the herculean efforts they took to raise me. iii TABLE OF CONTENTS ABSTRACT.................................................................................................................................... ii ACKNOWLEDGMENTS............................................................................................................. iii LIST OF ILLUSTRATIONS........................................................................................................... v INTRODUCTION............................................................................................................... 1 CHAPTER 1 THE FRENCH EMPIRE UNDER NAPOLÉON III................................... 9 CHAPTER 2 MAPPING THE FONTAINE.................................................................... 20 CHAPTER 3 THE FONTAINE’S RACIAL ICONOGRAPHY...................................... 34 CONCLUSION: A MONUMENT FOR THE FRENCH COLONIAL EMPIRE.............. 54 ILLUSTRATIONS........................................................................................................................ 59 BIBLIOGRAPHY......................................................................................................................... 62 iv LIST OF ILLUSTRATIONS Figure 1: Jean-Baptiste Carpeaux, Les Quatre parties du monde soutenant la sphère céleste (The Four Parts of the World Supporting the Celestial Sphere), 1867-74. Bronze............................... 59 Figure 2: EMManuel FreMiet, Les Quatre parties du monde soutenant la sphère céleste, 1867-74. Bronze........................................................................................................................................... 59 Figure 3: Carpeaux, Europe, from Les Quatre parties du monde soutenant la sphère céleste, 1867- 74. Bronze..................................................................................................................................... 59 Figure 4: Carpeaux, America, from Les Quatre parties du monde soutenant la sphère céleste, 1867- 74. Bronze..................................................................................................................................... 59 Figure 5: Carpeaux, Africa, from Les Quatre parties du monde soutenant la sphère céleste, 1867- 74. Bronze..................................................................................................................................... 59 Figure 6: Carpeaux, Asia, from Les Quatre parties du monde soutenant la sphère céleste, 1867- 74. Bronze..................................................................................................................................... 59 Figure 7: Carpeaux, L’Empereur reçoit Abd el-Kader au palais de Saint-Cloud (The Emperor Receiving Abd el-Kader at the Palace of Saint Cloud), 1853. Marble........................................... 59 Figure 8: Carpeaux, Le Prince Impérial et son chien Néro (The Imperial Prince and his dog Nero), 1865. Marble................................................................................................................................. 59 Figure 9: Carpeaux, Ugolin et ses fils (Ugolino and His Sons), 1865-67. Marble......................... 59 Figure 10: Israël Silvestre, Perspective Above Versailles, c. 1690. Drawing................................ 59 Figure 11: Pierre Le Pature, General Map of the Palace of Versailles, 1717. Engraving............. 59 Figure 12: Hildegard of Bingen, The Universal Man, from Liber Divinorum Operum, 1165. Painting......................................................................................................................................... 59 Figure 13: Thomas of CantiMpré, from De natura rerum, 1295. Manuscript................................ 59 Figure 14: Leonardo da Vinci, Vitruvian Man, ca. 1492. Drawing, ink, and wash on paper......... 60 Figure 15: Antoine-Jean Gros, Bonaparte visitant les pestiférés de Jaffa (Bonaparte Visits the Plague Stricken in Jaffa), 1804. Oil on canvas.............................................................................. 60 Figure 16: Jean-Baptiste Tuby, Charles Le Brun, Bassin d’Apollon (The Fountain of Apollo), 1668- 71. Bronze..................................................................................................................................... 60 v Figure 17: AbrahaM Ortelius, Theatrum Orbis Terrarum: Title-page with Four Figures which Embody the Four Known Continents, 1606. Illustration................................................................ 60 Figure 18: Francesco Bertos, Allegorical Groups Representing the Four Continents: Europe, 1710-25. Bronze............................................................................................................................ 60 Figure 19: Bertos, Allegorical Groups Representing the Four Continents: America, 1710-25. Bronze........................................................................................................................................... 60 Figure 20: Bertos, Allegorical Groups Representing the Four Continents: Africa, 1710-25. Bronze........................................................................................................................................... 60 Figure 21: Bertos, Allegorical Groups Representing the Four Continents: Asia, 1710-25. Bronze. ....................................................................................................................................................... 60 Figure 22: AiMé-Jules Dalou, Caryatids: The Four Continents, 1867. Patinated plaster.............. 60 Figure 23: Charles Cordier, La Capresse des Colonies (The Capresse of the Colonies), 1861. Algerian onyx-Marble, bronze and gilt bronze, enaMel, aMethyst; white Marble socle............................................................................................................................................... 60 Figure 24: François-August Biard, Proclamation
Load more

Recommended publications
  • Victoria Albert &Art & Love Public and Private Aspects of a Royal Sculpture Collection
    Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Public and private aspects of a royal sculpture collection Philip Ward-Jackson The mid-nineteenth century saw sculpture spectacularly brought out of the closet by an educated and cosmopolitan elite for the public’s improvement – and, incidentally, also of course for its entertainment. From the 1850s it began to be hard for private collectors to keep up with the displays available at international exhibitions. This was something that came about partly through the agency of Prince Albert, and after the closure of the Great Exhibition by far the largest collection of sculpture ever seen in this country was assembled at Sydenham by the Crystal Palace Company, admittedly consisting mostly of plaster casts.1 The burning down of the Sydenham Crystal Palace in 1936 and the dispersal of several important early Victorian sculpture collections have left Victoria and Albert’s collection of contemporary sculpture to enjoy unchallenged pre-eminence.
    [Show full text]
  • Of European Sculpture and Decorative Arts at the Detroit Institute of Arts
    Recent acquisitions (2007–15) of European sculpture and decorative arts at the Detroit Institute of Arts NINE YEARS HAVE passed since the third Supplement of Despite some moments of uncertainty, research has con- acquisitions of European sculpture and decorative arts at the tinued and some of the acquisitions in this Supplement were Detroit Institute of Arts (DIA) was published in this Maga- presented in scholarly articles. Since 2006 we have acquired zine (June 2007; the first was in June 1988; the second in June nearly forty works of European sculpture and decorative arts 2000). The intervening period, 2007–15, coincides with the spanning the fifteenth to the early twentieth centuries. This past eight years of continuing support of Graham W.J. Beal, fourth supplement includes a selection of the most important our recently retired museum director, and the appointment objects, chosen to illustrate a rich variety of works produced in October 2015 of Salvador Salort-Pons, formerly head of over six centuries and representing a wide range of media. the European Art Department and Elizabeth and Allan This Supplement also celebrates the impending thirtieth Shelden Curator of European Paintings, as the DIA’s anniversary of the founding of the Visiting Committee for eleventh director. This period has seen considerable activity European Sculpture and Decorative Arts (VCESDA), estab- in terms of publications, exhibitions and acquisitions, as well lished in 1987 to promote educational programmes and the as the Museum’s complete renovation, reinstallation and collecting of European works of art for the Museum, as well reopening in 2007. Most importantly, we find ourselves on a as the tenures of its fourth chair, Elizabeth DuMouchelle secure financial footing for the first time in decades.
    [Show full text]
  • The Looting of Yuanming and the Translation of Chinese Art in Europe
    Greg M. Thomas The Looting of Yuanming and the Translation of Chinese Art in Europe Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) Citation: Greg M. Thomas, “The Looting of Yuanming and the Translation of Chinese Art in Europe,” Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008), http://www.19thc- artworldwide.org/autumn08/93-the-looting-of-yuanming-and-the-translation-of-chinese-art- in-europe. 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. ©2008 Nineteenth-Century Art Worldwide Thomas: The Looting of Yuanming and the Translation of Chinese Art in Europe Nineteenth-Century Art Worldwide 7, no. 2 (Autumn 2008) The Looting of Yuanming and the Translation of Chinese Art in Europe by Greg M. Thomas The imperial palace of Yuanming Yuan (or Garden of Perfect Brightness) used to stand about 20 kilometers northwest of Beijing, close to the so-called Summer Palace that tourists can still visit today. Most of it was constructed between 1709 and 1772 by the emperors of the Qing Dynasty, including the emperor Qianlong, whose long reign (r.1736–95), enormous power, and cultural wealth gave him a nearly mythical stature similar to that of the earlier Louis XIV in France (r.1643–1715). The palace complex that Qianlong completed included hundreds of wooden buildings and pavilions constructed in classical Chinese style, scattered throughout a vast complex of artificial waterways and classical gardens (fig. 1). Like Louis XIV’s Versailles, Yuanming Yuan was made an official seat of government, at times used more often than the older and now more famous Forbidden City in Beijing.
    [Show full text]
  • The Structural and Social Veneers of Opulence in Charles Garnier's Paris Opéra Sarah W
    Student Publications Student Scholarship Spring 2013 A Temple of Pleasure, A Temple of Art: The Structural and Social Veneers of Opulence in Charles Garnier's Paris Opéra Sarah W. Parker Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the History of Art, Architecture, and Archaeology Commons Share feedback about the accessibility of this item. Parker, Sarah W., "A Temple of Pleasure, A Temple of Art: The trS uctural and Social Veneers of Opulence in Charles Garnier's Paris Opéra" (2013). Student Publications. 96. https://cupola.gettysburg.edu/student_scholarship/96 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 96 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. A Temple of Pleasure, A Temple of Art: The trS uctural and Social Veneers of Opulence in Charles Garnier's Paris Opéra Abstract At the height of opulence in Second Empire France, Napoléon and Haussmann’s restructuring of Paris called for the construction of a new opera house, selecting from a smorgasbord of competitors the architectural design of the virtually unknown Charles Garnier. The lp an employed all manner of techniques in order to present its decoration and composition as a veritable litany of formal styles, combining the Neoclassical with the Néobaroque, all with an affinity for the Beaux-Arts.
    [Show full text]
  • CHRYSALIS [Kris-Uh-Lis]
    CHRYSALIS [kris-uh-lis] from Latin chrӯsallis, from Greek khrusallis 1. the obtect pupa of a moth or butterfly 2. anything in the process of developing A CRITICAL STUDENT JOURNAL OF TRANSFORMATIVE ART HISTORY SPECIAL ISSUE: NINETEENTH-CENTURY SCULPTURE Volume I Number 5 Spring 2017 Editor: Dr. Charmaine A. Nelson, Professor of Art History, McGill University Managing Editor: Uma Vespaziani, BA Cultural Studies and Art History, McGill University © CHARMAINE A. NELSON AND INDIVIDUAL AUTHORS 0 CHRYSALIS was created by Dr. Charmaine A. Nelson as a vehicle to showcase the most innovative, rigorous, and sophisticated research produced by students within the context of her Art History courses at McGill University (Montreal). Over the years, Nelson observed that undergraduate students in her courses were more than capable of producing exceptional research on par with that of graduate students, and at times even professional academics. Disappointed that the majority of these students were faced with a negligible audience (if any) for their incredible work, with the help of her MA Art History student Anna T. January, Nelson came up with the idea to provide another platform for their research dissemination. CHRYSALIS is that platform! CHRYSALIS is an open access, electronic journal that will be published in seven special issues on Nelson’s research website: www.blackcanadianstudies.com The goal of CHRYSALIS is transformation: to publish scholarship that seeks answers to exciting new questions, to encourage students to undertake primary research and to open the discipline of Art History in ways that make it more welcoming to a diverse population of students. For more information please contact: [email protected] COVER ART CREDIT INFORMATION: Unknown photographer, Vinnie Ream at Work on Her Lincoln Bust (ca.
    [Show full text]
  • 2010 Annual Conference Program Sessions
    CONFERENCE PROGRAM CAA2010 98th ANNUAL CONFERENCE CHICAGO COLLEGE ART ASSOCIATION COLLEGE ARTASSOCIATION FEBRUARY 10–13, 2010 98TH ANNUALCONFERENCE F]qiaLhajo]*E(ukq(odakndaÅ(.,,2* Ldkpk^uSehhe]iF*Da^anp* Na_kcjeva`]o]_ajpanlea_abknIk`anj]j`?kjpailkn]nuo_qhlpqna]j`kjakbpdaIe`saopÑoha]`ejc iqoaqio(IaefanC]n`ajod]o^a_kia]jejpanj]pekj]h_qhpqn]h`aopej]pekj*I]opanskngobnkiNk`ejpkHel_depv( CHICAGO IkknapkJarahokj(Cknihaupk?n]cc(Ckh`osknpdupkLhajo]]naoepa`lkape_]hhu]_nkoopda-/.]_naokbc]n`ajo ]j`cnkqj`o*OaasdupdaS]hhOpnaapFkqnj]h_]hhoeppda^aop_khha_pekjsaopkbpdaGnhhan)IhhanIqoaqi* Lh]jukqnreoeppk`]u]pIaefanC]n`ajo*knc Í hk_]pa`ejCn]j`N]le`o(IE* 2010 Conference Program WEDNESDAY, THURSDAY WEDNESDAY, Can Beauty Be Administered? Early Building Regulations PROGRAM SESSIONS in Medieval Tuscany and the Ideal Town Klaus Tragbar, Hochschule Augsburg Wednesday, February 10 Giotto’s Envy and Francesco da Barberino’s Renown: 3:30 PM–5:00 PM Naturalism, Personifi cation, and Artistic Innovation Shelley MacLaren, University of the South International Sculpture Center Educator of the Year Award Lust for Killing: Defi ning Culture by Its Margins— the Massacre Grand CD North, Gold Level, East Tower, Hyatt Regency Chicago of the Innocents by Giovanni Pisano and Giusto de’ Menabuoi Chair: International Sculpture Center Beate Fricke, University of California, Berkeley Theories of Authorship in Fourteenth-Century Italian Art Diasporic Asian Art Network Joost Keizer, Columbia University Business Meeting Discussant: Klaus Krüger, Freie Universität Berlin Grand B, Gold
    [Show full text]
  • STAINED GLASSWORLDS: STAINED GLASS at the INTERNATIONAL EXHIBITIONS 1851-1900 JASMINE M. ALLEN TWO VOLUMES VOLUME I Phd the UNIV
    STAINED GLASSWORLDS: STAINED GLASS AT THE INTERNATIONAL EXHIBITIONS 1851-1900 JASMINE M. ALLEN TWO VOLUMES VOLUME I PhD THE UNIVERSITY OF YORK HISTORY OF ART MARCH 2013 ABSTRACT Studies of nineteenth-century stained glass are sparse, and tend to focus on the medium in its ecclesiastical and architectural settings. This thesis broadens such approaches by placing stained glass in its wider cultural, political, economic and global contexts by considering its display at ten international exhibitions held in England, France, the USA and Australia between 1851 and 1900. These temporary exhibitions provide a unique vantage point from which to survey the perception, practice, and status of stained glass during the peak of the medium’s revival. Drawing on contemporaneous written and visual sources, as well as recent studies of nineteenth-century culture, this study explores the extent to which the international displays of stained glass at these exhibitions shaped and developed the appreciation, application, understanding and permeation of stained glass throughout the nineteenth-century. This thesis demonstrates how the classification and various modes of displaying stained glass impacted future perceptions and displays of the medium. It considers the ways in which stained glass was part of a broader culture of spectacle in this period. It identifies those who made and exhibited stained glass for display at the international exhibitions, revealing their motives for participating and additional roles as reviewers and judges of exhibits. This project reveals, for the first time, the significance of the international exhibitions in the history of stained glass. It draws on nineteenth-century critical reviews, visual records and exhibits (both extant and non-extant) and offers close readings of specific stained glass exhibits, which are analysed in relation to stylistic developments, and to medieval and modern glazing techniques.
    [Show full text]
  • 207 495 5557 Facsimile +44 (0)207 495 5558
    Sinai-72pp:Layout 1 1/7/09 12:11 Page 3 60 South Audley Street London W1K 2QW Telephone +44 (0)207 495 5557 Facsimile +44 (0)207 495 5558 www.sinaiandsons.com [email protected] Sinai-72pp:Layout 1 1/7/09 12:11 Page 4 Detail of Lodovico Pogliaghi centre table (no. 13) Sinai-72pp:Layout 1 1/7/09 12:11 Page 5 It has always been our dream to discover and document unusual objects. We are both drawn to the styles of the 19th and 20th centuries and it gives us great pleasure therefore to present our first collection of decorative arts from these centuries, each carefully selected by us for rarity, quality and condition. We believe that objects of great quality enhance each other no matter what their age. Our interests lie particularly in the reinterpretation of exotic and classical styles in the art of the West, as amply demonstrated in our collection by Ferdinand Duvinage’s cachepot (no. 12) for Maison Giroux, a wheel-carved glass vase by Alphonse-Georges Reyen (no. 14) for Escalier de Cristal, a Jules-Auguste Habert-Dys enamelled and silver-mounted coffret (number 19), a pair of Christofle & Cie. Japonisme vases (no. 11), a Louis-Constant Sévin clock (no. 9) for Ferdinand Barbedienne and a Carlo Bugatti copper-mounted and inlaid table (no.18). Wonderfully rare examples that exude the opulence of the 19th century include the magnificent meuble à hauteur d’appui owned by Kaiser Friedrich III Hohenzollern with an exceptional micromosaic panel and marble top (no. 2), the monumental micromosaic panel by Licinio Campanili (no.
    [Show full text]
  • The Journal of the Walters Art Museum Vol. 70-71, 2012-2013
    THE JOURNAL OF THE WALTERS ART MUSEUM THE JOURNAL OF THE WALTERS ART MUSEUM THE OF THE WALTERS JOURNAL VOL. 70–71, 2012–2013 VOL. 70–71, 2012–2013 Jean-Léon Gérôme (French, 1824–1904), The Tulip Folly, 1882, detail. ESSAYS IN HONOR OF WILLIAM R. JOHNSTON The Walters Art Museum, Baltimore, gift of Mrs. Cyril W. Keene, 1983 (37.2612) THE JOURNAL OF THE WALTERS ART MUSEUM ESSAYS IN HONOR OF WILLIAM R. JOHNSTON VOL. 70–71, 2012–2013 EDITORIAL BOARD FORM OF MANUSCRIPT Martina Bagnoli All manuscripts must be typed and double-spaced (including quotations and Jo Briggs endnotes). Contributors are encouraged to send manuscripts electronically; Lynley Herbert please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. Robert Mintz All manuscripts should include a brief abstract (not to exceed 100 words). Marden Nichols Manuscripts should also include a list of captions for all illustrations and a Joaneath Spicer separate list of photo credits. VOLUME EDITOR FORM OF CITATION Robert Mintz Monographs: Initial(s) and last name of author, followed by comma; italicized or underscored title of monograph; title of series (if needed, not italicized); volume numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. MANUSCRIPT EDITOR or ff.), without p. or pp. Charles Dibble L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99.
    [Show full text]
  • The Royal Collection Trust
    THE ROYAL COLLECTION TRUST Annual Report for the year ended 31 March 2005 Company limited by guarantee, registered number 2713536 Registered Charity number 1016972 TRUSTEES OF THE ROYAL COLLECTION TRUST Chairman of the Trustees HRH The Prince of Wales, KG, KT, GCB, OM, AK, QSO, ADC ϳ••ϳ Deputy Chairman The Lord Luce, GCVO, PC, DL ϳ••ϳ Trustees The Hon. Mrs Marten, OBE, DL (until 17 March 2005) Sir Eric Anderson, KT, FRSE Sir John Guinness, CB Lady Shaw-Stewart (from 17 March 2005) The Rt Hon. Sir Robin Janvrin, KCB, KCVO Mr Alan Reid ϳ••ϳ Secretary Sir Hugh Roberts, KCVO, FSA CONTENTS Chairman’s Foreword 5 Report of the Director of the Royal Collection 6 Custodial Control 9 Conservation 10 Pictures 10 Works of Art 11 Royal Library and Print Room 13 Royal Photograph Collection 14 Royal Archives 15 Access and Presentation 16 Buckingham Palace 16 The Queen’s Gallery 18 The Royal Mews 19 Windsor Castle 19 The Drawings Gallery 20 Special Visits and Research Enquiries 20 Palace of Holyroodhouse 22 The Queen’s Gallery 22 Loans from the Royal Collection 23 Interpretation 25 Education 25 Publishing 30 e-Gallery 31 Accessions and Acquisitions 32 Trading Activities 35 Financial Overview 38 Summarised Financial Statements 40 Appendices Exhibitions and Loans 43 Staff of the Royal Collection 47 External Appointments 47 Staff Numbers 47 Staff Training 48 Staff List 50 John Singer Sargent (1856–1925), Lady Elizabeth Bowes-Lyon: profile portrait, 1923. Sargent’s charcoal drawing provided a striking cover image for Watercolours and Drawings from the Collection of Queen Elizabeth The Queen Mother, the catalogue of the exhibition on display at the Palace of Holyroodhouse from March to September 2005.
    [Show full text]
  • *Pages 20 Through 141 Breaking the Mold
    BREAKING THE MOLD: SCULPTURE IN PARIS FROM DAUMIER TO RODIN By Phillip Dennis Cate Phillip Dennis Cate he sculptor, the man who gives, even outside next decade in addition to writing an extensive histo- of all literary considerations, the plastic rep- ry of caricature from ancient times to his own, resentation of a human face but who does Alexandre authored the first definitive critical studies T and biographies of Honoré Daumier (1808–1879); the not want to make simply a ‘photo-sculpture’,has no other means at his disposal than to underline the great Romantic sculptor of animals, Antoine-Louis primary characteristics of the face: for example of Barye (1795–1875); and the sculptor/ceramist Jean pushing forward the lips in a mocking fold indicat- Carriès (1855–1894).4 ing a satirical expression, of accentuating the arch of Alexandre’s respect for innovative contemporary the eyebrow and of enlarging the eye sockets so that artists and his deep appreciation of the role of humor the resulting shadows express reflection and obser- in art, particularly that of satire and caricature à la vation and finally to exaggerate the jutting and Daumier, were put into practice on a weekly basis dimension of the forehead in order to underline the through his involvement with Le Rire. Co-founded by creative faculty. This is precisely what Mr. Rodin has Alexandre and Félix Juven in November 1894, Le Rire done with the head of his Balzac.1 was an immensely popular satirical journal profusely —Arsène Alexandre, art critic, 1898 illustrated in color and black and white after draw- ings by such artists as Théophile-Alexandre Steinlen (1859–1923), Félix Vallotton (1865–1925), Henri de The Committee of the Société des Gens de Lettres Toulouse-Lautrec (1864–1901), Charles Léandre regrets that it has the duty to protest against the (1862–1930), Adolphe Willette (1857–1926), and sketch exhibited at the Salon by M.
    [Show full text]