DOCSLIB.ORG

Auguste Rodin & Gates of Hell

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Auguste Rodin & Gates of Hell 1854-1857: École Impériale Spéciale de Dessin et de Mathémaques (“Pete École”) RODIN Skeleton and skull, c. 1856 RODIN Pencil, pen and black ink on paper, cut out and Académie, 1854-1857 pasted on a support at a later date (H. 25.3 cm.) Horace Lecoq de Boisbaudran: drawing instructor at the Pe:te École RODIN Sheet of drawings, c. 1871-1877 RODIN GERMAIN PILON (1540 -1590) Study of the Entombment by Germaine The Entombment of Christ, second half of Pillon, c. 1855 (parally reworked at a later the 16th century date). Bronze relief (H. : 47 cm.) Pencil, pen and ink, ink wash Musée du Louvre Musée Rodin, Paris RODIN CARRIER-BELLEUSE Young Woman in a Flower Hat, 1865 Fantasy Bust, circa 1865-1870 Terracoa, H.: 20.5" Terracoa on wood socle, H.: 29 7/8” (76 cm.) Musée Rodin, Paris Los Angeles County Museum of Art RODIN Mask of the Man with the Broken Nose, conceived 1863-64, cast in bronze 1925 Bronze, 10 1/4 x 6 7/8 x 9 ¾” (26 x 17.5 x 24.8 cm) Rejected by the jury of the Salon of 1865 Musée Rodin, Paris RODIN Mask of the Man with the Broken Nose, Conceived 1863-64, cast in bronze 1925 Bronze, 10 1/4 x 6 7/8 x 9 ¾” (26 x 17.5 x 24.8 cm) Rejected by the jury of the Salon of 1865 Musée Rodin, Paris GIULIO BONASONE RODIN Portrait of Michelangelo Buonarro, 1546 Man with the Broken Nose (20th-century cast) Engraving Bronze with green pana on black marble base, H: 11 ¾” Private Collecon, Philadelphia, PA RODIN DANIELE DA VOLTERRA (1509 - 1566) Man with the Broken Nose (20th-century cast) Portrait of Michelangelo Buonarro, mid-16th century Bronze with green pana on black marble base, H: Bronze (H. : 30 cm.) 11 ¾” Musée du Louvre Private Collecon, Philadelphia, PA RODIN Bust of Homer Man with the Broken Nose (20th-century cast) Marble Bronze with green pana on black marble base, H: Musée du Louvre 11 ¾” Private Collecon, Philadelphia, PA RODIN Man with the Broken Nose, 1874-1875 Salon of 1875 Marble (H.: 56.8 cm.) Marble carved by Léon Fourquet in 1874-1875 Musée Rodin RODIN Man with the Broken Nose, 1874-1875 Bust of Homer Salon of 1875 Marble Marble (H.: 56.8 cm.) Musée du Louvre Marble carved by Léon Fourquet Musée Rodin RODIN BATTISTA LORENZI (1527-1594) Man with the Broken Nose, 1874-1875 Bust of Michelangelo, 1574 Salon of 1875 Marble Marble (H.: 56.8 cm.) Tomb of Michelangelo, Santa Croce, Marble carved by Léon Fourquet in 1874-1875. Florence Musée Rodin Gates of Hell: Fragments and mulplicaon Auguste Rodin (1840-1917) Gates of Hell (1880-1917) Plaster, high relief (H. 17’; 5.2 m.) Lorenzo Ghiberti Auguste Rodin (1840-1917) Gates of Paradise, Baptistery, Florence (1425–1452) Gates of Hell (1880-1917) Gilded bronze (H. 17’; 5.2 m.) Plaster, high relief (H. 17’; 5.2 m.) RODIN RODIN The Gates of Hell, first maquee, 1880 The Gates of Hell, third maquee, 1881 Wax (H: 23 cm.) Plaster cast of unfired clay original (H: 1.2 m.) RODIN Gates of Hell (1880-1917) RODIN Bronze Gates of Hell (1880-1917) (Posthumous cast authorized by Musée Rodin, Plaster, high relief (H. 17’; 5.2 m.) 1981. Cantor Arts Center, Stanford, CA) BOZZETTI: sculptural studies RODIN RODIN Bozze : Right arms, c. 1890-1900 Bozze : Right arms, broken wrists, c. 1890-1900 Plaster (H. 2.5 cm ; W. 13 cm.) Plaster (H. 3 cm ; W. 7.3 cm .) Crouching Woman, also known as Lust, c. 1881-1882 Crouching Woman, 1906-1908 Terracoa (H. 25.5 cm.) Bronze (H. 85.8 cm.) Musée Rodin, Paris Cast made by Fonderie Alexis Rudier in 1909 Acquired by the French State in 1910 Musée Rodin, Paris 1886: First major exhibion of works from the Gates of Hell at the Galerie Georges Pet, Paris Crouching Woman, 1906-1908 Bronze (H. 85.8 cm.) Crouching Woman, 1886 Cast made by Fonderie Alexis Rudier in 1909 Marble, H. 17 11/16” (45 cm.) Acquired by the French State in 1910 Museum of Fine Arts, Boston Musée Rodin, Paris Fallen Caryatid Carrying Her Stone (1881-82) RODIN Plaster (H: 44 cm.; 17 2/8 ”) Gates of Hell (1880-1917) Plaster, high relief (H. 17’; 5.2 m.) DETAIL: “Fallen Caryatid” Crouching Woman, also known as Lust Circa 1881-1882 Terracoa I am beau4ful H. 25.5 cm Prodigal Son (“Falling Man” on the Gates), modeled 1882, Musée Rodin cast 5/12, 1974 Bronze, 23 ¼” Nelson-Atkins Museum of Art RODIN I am Beauful, 1882 Plaster (H. 69.8 cm.) RODIN Gates of Hell (1880-1917) RODIN Plaster, high relief (H. 17’; 5.2 m.) Gates of Hell (1880-1917) DETAIL: “Falling Man” Plaster, high relief (H. 17’; 5.2 m.) DETAIL: “I am beautiful” RODIN I am Beauful, 1882 Plaster (H. 69.8 cm.) RODIN I am Beauful, 1882 Plaster (H. 69.8 cm.) RODIN I am Beauful, 1882 Plaster (H. 69.8 cm.) Auguste Rodin (1840-1917) Gaudenzio Marconi (1842-1885) St. John the Bapst Preaching (Salon of 1880) (cast in bronze in 1921) Male model (Pignatelli) posing for St. Bronze (H: 6' 6 3/4”; 2 m.) John the Bapst Auguste Rodin (1840-1917) St. John the Bapst Preaching (Salon of 1880) (cast in 1921) As soon as I saw him, I was filled with Bronze (H: 6' 6 3/4”; 2 m.) admiraon; this rough, hairy man expressed violence in his bearing… yet also the myscal character of his race. I immediately thought of a Saint John the Bapst, in other words, a man of nature, a visionary, a believer, a precursor who came to announce one greater than himself. The peasant undressed, climbed onto the revolving stand as if he had never posed before; he planted himself firmly on his feet, head up, torso straight, at the same me pung his weight on both legs, open like a compass. The movement was so right, so straighNorward and so true that I cried: ‘but it’s a man walking!’ I immediately resolved to model what I had seen.” Gaudenzio Marconi (1842-1885) Male model (Pignatelli) posing for St. John the Bapst Auguste Rodin (1840-1917) Auguste Rodin (1840-1917) St. John the Bapst Preaching (Salon of 1880) Walking Man (conceived in c.1899) (cast in 1905) (cast in 1921) Bronze (H: 6’ 11 ¾” ; H. 2.13 m.) Bronze (H: 6' 6 3/4”; 2 m.) Eadweard Muybridge (1830-1904) Man Climbing Stairs (1884) Photograph Auguste Rodin (1840-1917) Walking Man (1905) Bronze (H: 6’ 11 ¾” ; H. 2.13 m.) Rodin: “Have you ever aenvely examined instantaneous photographs of walking figures? ….Photographs present the odd appearance of a man suddenly stricken with paralysis and petrified in his pose. …[In photography] there is no progressive development of movement as there is in art…[I]t is the arsts who is truthful and it is photography which lies, for in reality me does not stop.” RODIN Walking Man (1905) Bronze (H: 6’ 11 ¾” ; H. 2.13 m.) .
Recommended publications
  • Who's Who at the Rodin Museum

    Who's Who at the Rodin Museum

    WHO’S WHO AT THE RODIN MUSEUM Within the Rodin Museum is a large collection of bronzes and plaster studies representing an array of tremendously engaging people ranging from leading literary and political figures to the unknown French handyman whose misshapen proboscis was immortalized by the sculptor. Here is a glimpse at some of the most famous residents of the Museum… ROSE BEURET At the age of 24 Rodin met Rose Beuret, a seamstress who would become his life-long companion and the mother of his son. She was Rodin’s lover, housekeeper and studio helper, modeling for many of his works. Mignon, a particularly vivacious portrait, represents Rose at the age of 25 or 26; Mask of Mme Rodin depicts her at 40. Rose was not the only lover in Rodin's life. Some have speculated the raging expression on the face of the winged female warrior in The Call to Arms was based on Rose during a moment of jealous rage. Rose would not leave Rodin, despite his many relationships with other women. When they finally married, Rodin, 76, and Rose, 72, were both very ill. She died two weeks later of pneumonia, and Rodin passed away ten months later. The two Mignon, Auguste Rodin, 1867-68. Bronze, 15 ½ x 12 x 9 ½ “. were buried in a tomb dominated by what is probably the best The Rodin Museum, Philadelphia. known of all Rodin creations, The Thinker. The entrance to Gift of Jules E. Mastbaum. the Rodin Museum is based on their tomb. CAMILLE CLAUDEL The relationship between Rodin and sculptor Camille Claudel has been fodder for speculation and drama since the turn of the twentieth century.
  • Heaven and Hell.Pmd

    Heaven and Hell.Pmd

    50 Copyright © 2002 The Center for Christian Ethics at Baylor University This photo is available in the print version of Heaven and Hell. Though Auguste Rodin struggled over twenty years to express through sculpture the desperation of souls that are falling from Grace, he never finished his magnificent obsession. Auguste Rodin (1840-1917), THE GATES OF HELL, 1880-1900, Bronze, 250-3/4 x 158 x 33-3/8 in. Posthumous cast authorized by Musée Rodin, 1981. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University; gift of the B. Gerald Cantor Collection. Photograph by Frank Wing. The Final Judgment in Christian Art 51 Falling BY HEIDI J. HORNIK uguste Rodin accepted his first major commission, The Gates of Hell, when he was forty years old. This sculpture was to be the door- Away for the École des Arts Dècoratifs in Paris. Though the muse- um of decorative arts was not built, Rodin struggled over twenty years to depict the damned as they approach the entrance into hell. He never finished. The sculpture was cast in bronze after the artist’s death, using plaster casts taken from his clay models. The Gates of Hell, like Michelangelo’s Last Judgment, lays out its mean- ing through a turbulent and multi-figured design. The identities of many figures in the composition are not immediately apparent. Instead Rodin challenges us to make sense of the whole work by dissecting its elements and recalling its artistic influences.† The Three Shades at the very top, for example, derives from Greek thought about Hades.
  • Rodin Museum History [Release]

    Rodin Museum History [Release]

    Contact: Norman Keyes, Jr., Director of Media Relations Frank Luzi, Press Officer (215) 684-7864 [email protected] THE RODIN MUSEUM, PHILADELPHIA In a park setting at 22nd Street and the Benjamin Franklin Parkway (four blocks east of the Philadelphia Museum of Art) is one of the jewels of the city’s cultural landscape. The Rodin Museum, with its elegant gardens and stunning Beaux-Arts architecture, is the legacy of one of Philadelphia's best-known philanthropists. Movie magnate Jules Mastbaum (1872-1926) fell in love with the work of French sculptor Auguste Rodin (1840-1917) while on a visit to Paris in 1923. With characteristic energy Mastbaum spent the next three years assembling an extraordinary collection of sculpture and drawings by the artist, with the idea of establishing a Rodin Museum in Philadelphia for “the enjoyment of my fellow citizens.” While amassing his collection, Mastbaum commissioned the gifted architects Paul Cret and Jacques Gréber to design a building and formal garden on the new Benjamin Franklin Parkway, the broad, tree-lined boulevard designed to evoke another grand avenue, the Champs Elysees in Paris. The museum, simple in detail, is monumental in its conception and yet intimate in scale and feeling. The gateway leading to the garden and museum reproduces the façade of the Château d’Issy, which had been constructed on Rodin’s property at Meudon in 1907. A cast of The Thinker (1902-04) is set in a location similar to that of the one at Meudon that serves as Rodin’s headstone. The overall effect was intended to suggest the setting of Rodin’s tomb.
  • Naked and Unashamed: a Study of the Aphrodite

    Naked and Unashamed: a Study of the Aphrodite

    Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 ABSTRACT Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World by Marianne Eileen Wardle Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Sheila Dillon, Supervisor ___________________________ Mary T. Boatwright ___________________________ Caroline A. Bruzelius ___________________________ Richard J. Powell ___________________________ Kristine Stiles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosopy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2010 Copyright by Marianne Eileen Wardle 2010 Abstract This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess’ body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a- boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer’s gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire.
  • Self-Possession in the Poetry of Paul Celan, Ts Eliot

    Self-Possession in the Poetry of Paul Celan, Ts Eliot

    THE LANGUAGE OF REAL LIFE: SELF-POSSESSION IN THE POETRY OF PAUL CELAN, T. S. ELIOT, RAINER MARIA RILKE, AND PAUL VALÉRY by Scott Marentette A thesis submitted in conformity with the requirements for the degree of Ph. D. Graduate Department of The Centre for Comparative Literature University of Toronto © Copyright by Scott James Marentette 2010 The Language of Real Life: Self-Possession in the Poetry of Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry Scott Marentette Ph. D. 2010 Centre for Comparative Literature University of Toronto In his “Letter on Humanism,” Martin Heidegger conveys the importance he attributes to poetry when he states: “Language is the house of being” (“Letter” 239). In response to his early Jesuit education, he developed a secular alternative to theology with his existential phenomenology. Theology, poetry, and phenomenology share the basic concern of explaining the foundations of being. For Heidegger, ownership characterizes being in a fundamental way; in Contributions to Philosophy (From Enowning) , he establishes the “Ereignis” (“event of appropriation”) as the foundation of being. Ownership lies at the core of being in his thinking following Being and Time . Yet his philosophy ignores the material circumstances of ownership. By way of a materialist critique of Heidegger’s Idealist phenomenology, I expose how property-relations are encoded in the modern poetry and philosophy of dwelling with the question: who owns the house of being? The answer lies in “self-possession,” which represents historical subjectivity as the struggle for the means of production. Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry are all poets who address the relationship between being and ownership in expressing what Marx and Engels call the “language of real life” in The German Ideology (26).
  • David Getsy Rodin

    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 Materiality and Mythology of Rodin's Touch

    The Materiality and Mythology of Rodin's Touch

    Auguste Rodin has been understood by Unlike much earlier sculpture, one needed many to have inaugurated modern sculp- no story or explanation to understand the DAVID J. GETSY ture, liberating it from its conventions and electricity of touching a body or being traditions. While the singularity of this rep- touched. Rodin’s contribution to modern utation could be contested, his work has sculpture was to bring attention to the often overshadowed his competitors and material object as the product of the sculp- alternatives among the divergent routes tor’s hands, and he amplified that attention into and out of modern sculpture across by sculpting naked bodies that seemed to The Materiality and Europe. Across the twentieth century, his convulse in space as the result of those originating status was often assumed, and hands. With Rodin’s work, the sculptor’s Mythology of Rodin’s Touch he became the sculptor against whom oth- touch in the clay was often taken for the ers were gauged in the modern sculpture’s lover’s touching of the nude — despite the early development. That reputation has missing limbs, contortions, or imprints of persisted, and he remains one of the most fingers and hands on Rodin’s sculptural recognizable of modern artists globally bodies. Under his hand, sculpture was because of his way of making sculpture. seen to have become more sensual, and Then and now, his works have appeared the evidence of his manipulations of mat- direct and expressive, with dramatic ter reinforced the frankness that viewers gouges, marks, and finger impressions perceived in the unclothed bodies writhing littering his surfaces.
  • RODIN: TRUTH, FORM, LIFE Selections from the Iris and B

    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.
  • SCULPTURE in FRANCE RODIN the Large Dancer (A) (40) SCULPTURE in FRANCE

    SCULPTURE in FRANCE RODIN the Large Dancer (A) (40) SCULPTURE in FRANCE

    SCULPTURE IN FRANCE RODIN The Large Dancer (A) (40) SCULPTURE IN FRANCE RODIN RENOIR MATISSE MEUNIER ARCHIPENKO BOURDELLE MANOLO LAURENS MAILLOL DESPIAU DA LOU DEGAS Auckland Wellington Christchurch September to December 1963 FOREWORD This exhibition is long overdue, for the public in New Zealand has had little opportunity to familiarise itself with the work of the sculptors represented here. We must be grateful to the Arts Advisory Council of New Zealand for bearing the major financial burden of this undertaking and so making it possible for the exhibition to be seen in Auckland, Wellington and Christchurch. No exhibition would be possible, however, without the ready generosity of private and public lenders whose response has been sympathetic and practical. A considerable debt of thanks is due to them. For their interest and assistance we must thank His Excellency The Ambassador of France to New Zealand and His Excellency The Ambassador of New Zealand to France. P. A. TOMORY, Director, Auckland City Art Gallery i INTRODUCTION The aim in arranging this exhibition was to show the New Zealand public the found dation on which the sculpture of this century is based, and to indicate the move away from wholly naturalistic forms, heralding the abstracted forms with which the sculp­ ture of today is largely concerned. As in all exhibitions it is seldom possible to secure all the works which would lend weight to the central idea. It is so with this exhibition for the important work of Duchamp Villon and Brancusi is not represented, as it should be, to illustrate the revolutionary changes which occurred prior to 1914.
  • Press Release

    Press Release

    NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: May 30, 2018 MEDIA CONTACT: FOR IMMEDIATE RELEASE Amy Hood Getty Communications (310)440-6427 [email protected] J. PAUL GETTY MUSEUM ACQUIRES FRENCH BRONZE SCULPTURES BY CAMILLE CLAUDEL AND AUGUSTE RODIN Torso of a Crouching Woman Cast by 1913 from a model made about 1884-85 Camille Claudel (French, 1864-1943) and Bust of John the Baptist Cast in 1886 from a model made in 1880 Auguste Rodin (French, 1840-1917) Torso of a Crouching Woman, model about 1884–85, cast Bust of John the Baptist, model 1880, cast 1886, by 1913, Camille Claudel (French, 1864–1943). Bronze, Auguste Rodin (French, 1840–1917). Bronze, 48 x 35 x 27 x 26 cm. The J. Paul Getty Museum, Los Angeles 38.8 x 27 cm. The J. Paul Getty Museum, Los Angeles (2018.32) LOS ANGELES, CA – The J. Paul Getty announced today the acquisition of two important French bronze sculptures, Torso of a Crouching Woman, by Camille Claudel (1864-1943) and Bust of John the Baptist by Auguste Rodin (1840-1917). “Each of these bronzes is a work of outstanding quality and importance, but it is the close connection between the two artists that makes their combined acquisition such a The J. Paul Getty Trust 1200 Getty center Drive, Suite 403 Tel: 310 440 7360 www.getty.edu Communications Department Los Angeles, CA 90049-1681 Fax 310 440 7722 powerful statement about French sculpture at the turn of the twentieth century – a moment when this medium was fundamentally transformed,” said Timothy Potts, director of the J.
  • The Fragment As a Manifestation of Non-Finito in Auguste Rodin's

    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
  • Sculpture and the Museum Edited by Christopher R

    Sculpture and the Museum Edited by Christopher R

    Sculpture and the Museum Edited by Christopher R. Marshall, University of Melbourne, Australia Subject/Object: New Studies in Sculpture November 2011 234 x 156 mm 286 pages Hardback 978-1-4094-0910-6 £55.00 Includes 63 b&w illustrations Sculpture and the Museum is the first in-depth examination of the varying roles and meanings assigned to sculpture in museums and galleries during the modern period, from neo-classical to contemporary art practice. It considers a rich array of curatorial strategies and settings in order to examine the many reasons why sculpture has enjoyed a position of such considerable importance - and complexity - within the institutional framework of the museum and how changes to the museum have altered, in turn, the ways that we perceive the sculpture within it. In particular, the contributors consider the complex issue of how best to display sculpture across different periods and according to varying curatorial philosophies. Sculptors discussed include Canova, Rodin, Henry Moore, Flaxman and contemporary artists such as Rebecca Horn, Rachel Whiteread, Mark Dion and Olafur Eliasson, with a variety of museums in America, Canada and Europe presented as case studies. Underlying all of these discussions is a concern to chart the critical importance of the acquisition, placement and display of sculpture in museums and to explore the importance of sculptures as a forum for the expression of programmatic statements of power, prestige and the museum's own sense of itself in relation to its audiences and its broader institutional aspirations. Contents Subject/Object: new studies in sculpture, Lisa Le Feuvre; Sculpture and the museum, from starry skies to tropical haze, Christopher R.