DOCSLIB.ORG

No Slide Title

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
No Slide Title Auguste Rodin (1840-1917) Rodin, 1896 Rodin, 1862 Edward Steichen: Rodin, c. 1902 Rodin, The man with the broken nose, 1863 Rodin, Rose Beuret, c. 1865 Rodin, The Age of Bronze, 1876 Rodin, The Age of Bronze, 1876 Rodin, The Age of Bronze, 1876 Gaudenzio Marconi: Auguste Neyt, model for The Age of Bronze, 1877 “The human body is a walking temple. It contains a central point around which the volumes distribute themselves....“ Auguste Rodin, Art, (1912), Boston, 1917. Rodin, John the Baptist Preaching, 1878 Adolphe Braun, photo of St. John the Baptist, 1878 Rodin, Walking Man, c. 1905 In 1347, following a particularly long siege, the city of Calais was obliged to surrender to Edward III, the King of England. Six Rodin, Burghers of Calais, 1884-89 burghers, Eustache de Saint-Pierre, Jean d'Aire, Jacques and Pierre de Wissant, Jean de Fiennes, Andrieu d'Andres, were willing to sacrifice their lives and accepted to hand over the keys of the city to the King. Rodin, Burghers of Calais, 1884-89 Rodin, Burghers of Calais, 1884-89 Rodin, Burghers of Calais, 1884 Rodin, Burghers of Calais, 1884-89 Rodin, Burghers of Calais, 1884-89 Rodin, Burghers of Calais, 1884- 89 Rodin, Burghers of Calais, 1884-89 Rodin, Burghers of Calais, 1884-89 Rodin, The Gates of Hell, 1880- 1917 Rodin, The Gates of Hell, 1880-1917 Rodin, The Three Shades, Rodin, early model for the Gates of Hell, c1880, Pierre Choumoff: Rodin and Henriette Coltat sitting in front of The Gates of Hell, gelatin silver print, early 1900s Rodin: Ugolino, 1881-82 “But when to our somber cell was thrown A slender ray, and each face was lit I saw in each the aspect of my own, For very grief both of my hands I bit, And suddenly from the floor arising they, Thinking my hunger was the cause of it, J. B. Carpeaux: Exclaimed: Father eat thou of us, and stay Ugolino, c Our suffering: thou didst our being dress 1860-61 In this sad flesh; now strip it all away.” --Dante, Inferno, canto 33 Rodin Museum, Paris "One day for our own pleasure we were reading Of Lancelot and how love pinioned him. We were alone and innocent of suspicion. "Several times that reading forced our eyes To meet and took the color from our faces. But one solitary moment conquered us. "When we read there of how the longed-for smile Was being kissed by that heroic lover, This man, who never shall be severed from me, "Trembling all over, kissed me on the mouth. That book — and its author — was a pander! In it that day we did no further reading.“ -- Dante Alighieri, Inferno, canto V Rodin, The Kiss, 1888-89 Rodin, The Kiss, 1888-89 William Blake: The Whirlwind of Lovers, c1824 Ingres, Paolo and Francesca, 1819 Rodin, The Eternal Idol, 1889 Rodin, The Eternal Idol, 1889 Rodin, Iris, Messenger of the Gods, c. 1889 Rodin, Danaid, c. 1889 marble carved by Jean Escoula Rodin, Danaid, circa 1889 John Singer Sargent: Danaids, mural, marble carved by Jean Escoula BMFA, 1912 Rodin, Thought, 1886 Egyptian scribe, Old Kingdom, BMFA Rodin, Thought, 1886 Rodin, Balzac, 1893-97 Rodin, Balzac, 1893- 97 Rodin, The Hand of God, 1898 On Mystery: "It is a general belief that we live only through our senses, and that the world of appearances suffices us. We are taken for children who, intoxicated with changing colors, amuse themselves with the shapes of things as with dolls. We are misunderstood. Lines and colors are only to us the symbols of hidden realities. Our eyes plunge beneath the surface to the meaning of things, and when afterwards we reproduce the form, we endow it with the spiritual meaning which it covers. An artist worthy of the name should express all the truth of nature, not only the exterior truth, but also, and above all, the inner truth." -- Rodin Auguste Rodin, Art, (1912), Boston, 1917, pp. 177-178 Rodin, The Secret, 1910 Camille Claudel, age 20 Camille Claudel, age 20 Camille Claudel and Jessie Newcomb in studio, 1883-85 Rodin, Thought, 1886 Rodin, Danaid, c. 1889 marble carved by Jean Escoula Claudel, The Waltz, 1891-1905 Claudel, The Waltz, 1891- 1905 Claudel, The Age of Maturity (L’Age Mur), 1889 Claudel, The Age of Maturity (L’Age Mur), 1889 Claudel, “The Collage,” sketchbook, 1892 Claudel, The Gossips, c. 1893-1905 Camille Claudel: The Wave, 1890s Hokusai: The Great Wave, 1820s Camille Claudel: The Wave, 1890s Claudel, Perseus and the Gorgon, c. 1898 Camille Claudel, c. 1935 .
Load more

Recommended publications
  • ROMAN ARCHITEXTURE: the IDEA of the MONUMENT in the ROMAN IMAGINATION of the AUGUSTAN AGE by Nicholas James Geller a Dissertatio
    ROMAN ARCHITEXTURE: THE IDEA OF THE MONUMENT IN THE ROMAN IMAGINATION OF THE AUGUSTAN AGE by Nicholas James Geller A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Associate Professor Basil J. Dufallo, Chair Associate Professor Ruth Rothaus Caston Professor Bruce W. Frier Associate Professor Achim Timmermann ACKNOWLEDGEMENTS This dissertation would not have been possible without the support and encouragement of many people both within and outside of academia. I would first of all like to thank all those on my committee for reading drafts of my work and providing constructive feedback, especially Basil Dufallo and Ruth R. Caston, both of who read my chapters at early stages and pushed me to find what I wanted to say – and say it well. I also cannot thank enough all the graduate students in the Department of Classical Studies at the University of Michigan for their support and friendship over the years, without either of which I would have never made it this far. Marin Turk in Slavic Languages and Literature deserves my gratitude, as well, for reading over drafts of my chapters and providing insightful commentary from a non-classicist perspective. And I of course must thank the Department of Classical Studies and Rackham Graduate School for all the financial support that I have received over the years which gave me time and the peace of mind to develop my ideas and write the dissertation that follows. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………………ii LIST OF ABBREVIATIONS……………………………………………………………………iv ABSTRACT……………………………………………………………………………………....v CHAPTER I.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Story of the Handless Maiden 11 Chapter 2
    Number Twelve Carolyn and Ernest Fay Series in Analytical Psychology David H. Rosen, General Editor The Carolyn and Ernest Fay edited book series, based initially on the annual Fay Lecture Series in Analytical Psychology, was established to further the ideas of C. G. Jung among students, faculty, therapists, and other citizens and to enhance scholarly activities related to analytical psychology. The Book Series and Lecture Series address topics of im- portance to the individual and to society. Both series were generously endowed by Carolyn Grant Fay, the founding president of the C. G. Jung Educational Center in Houston, Texas. The series are in part a memorial to her late husband, Ernest Bel Fay. Carolyn Fay has planted a Jungian tree carrying both her name and that of her late husband, which will bear fruitful ideas and stimulate creative works from this time forward. Texas A&M University and all those who come in con- tact with the growing Fay Jungian tree are extremely grateful to Caro- lyn Grant Fay for what she has done. The holder of the McMillan Professorship in Analytical Psychology at Texas A&M functions as the general editor of the Fay Book Series. Memories of Our Lost Hands Memories of Our Lost Hands Searching for Feminine Spirituality and Creativity sonoko toyoda Texas A&M University Press College Station Copyright © 2006 by Sonoko Toyoda Manufactured in the United States of America All rights reserved First edition The paper used in this book meets the minimum requirements of the American National Standard for Permanence of Paper for Printed Library Materials, z39.48–1984.
    [Show full text]
  • Beyond Rodin: Revisiting the Legacy of Camille Claudel Shannon R
    Student Publications Student Scholarship Spring 2015 Beyond Rodin: Revisiting the Legacy of Camille Claudel Shannon R. Callahan Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Cultural History Commons, History of Art, Architecture, and Archaeology Commons, Women's History Commons, and the Women's Studies Commons Share feedback about the accessibility of this item. Callahan, Shannon R., "Beyond Rodin: Revisiting the Legacy of Camille Claudel" (2015). Student Publications. 327. https://cupola.gettysburg.edu/student_scholarship/327 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/ 327 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]. Beyond Rodin: Revisiting the Legacy of Camille Claudel Abstract French sculptress Camille Claudel has gained recognition in the past 30 years due to a focus on her tragic life rather than her artistic talent. Despite critical acclaim and respect amongst her peers during the late 19th and early 20th centuries, her affair with Auguste Rodin and her struggles with mental illness have cast a dark, dramatic shadow over modern interpretations of Claudel’s oeuvre. Considering how difficult it was for a woman to be working as an artist at this time, Claudel’s sculptures should not be outweighed by her personal life.
    [Show full text]
  • Robert Graves the White Goddess
    ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters.
    [Show full text]
  • Faculty Tuesdays Camille Claudel Concert Suite Chas Wetherbee, Violin David Korevaar, Piano 7:30 P.M., Tuesday, Dec
    2020-21 Season Digital program Contents Click on an item to navigate to its page. Celebrating resiliency and committing to justice: Colorado Music Magazine Performance program CU Presents Digital Your support matters CU Presents personnel is the home of performing arts at the University of Colorado Boulder. The mission of the University of Colorado Boulder College of Music is to inspire artistry and discovery, together. 2020-21 Digital Programs October-December 2020 Editors: Jessie Bauters, Becca Vaclavik Photography: Glenn Asakawa, Nicholas Caputo, Designer: Sabrina Green Jack Dorfman, Jessica Lee, Ian McMorran, Amanda Tipton Contributors: Jessie Bauters, Olivia Lerwick, Becca Vaclavik Photo courtesy Boulder Daily Camera Celebrating resiliency and committing to justice: Colorado Music Magazine By Jessie Bauters Just in time for a virtual Homecoming, the College of Music released a special Centennial edition of Colorado Music Magazine this October. In addition to highlighting trailblazing alumni, legendary faculty, outstanding students and dedicated supporters, the college’s annual publication shined a spotlight on two aspects of the past year that none of us can ignore: the COVID-19 pandemic and the movement for racial justice. 3 2020-21 Season CU COLLEGE OF MUSIC The music of resiliency As coronavirus upended plans all over the globe, the performing arts on the CU Boulder campus were no different. But as a college, our artists have dug deep to find a way to keep our educational mission alive against extraordinary odds. Students and faculty used on-screen meetings to their unique advantage. The Trumpet and Horn studios produced virtual performances, along with the keyboard faculty and the bands.
    [Show full text]
  • ISSUE 2493 | Antiquestradegazette.Com | 22 May 2021 | UK £4.99 | USA $7.95 | Europe €5.50
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp 7 1 -2 0 2 1 9 1 ISSUE 2493 | antiquestradegazette.com | 22 May 2021 | UK £4.99 | USA $7.95 | Europe €5.50 S E E R 50 D V years A koopman I R N T antiques trade G T H E rare art KOOPMAN (see Client Templates for issue versions) [email protected] +44 (0)20 7242 7624 THE ART M ARKET WEEKLY www.koopman.art Big hitters return to major sales by Alex Capon The latest flagship sales of Modern and Contemporary art in New York showed a return to some normality after a difficult 14 months. The sighs of relief at the auction houses were almost palpable after the supply of major works had dropped off considerably during the pandemic but recovered signifi- cantly here, with some big-ticket items coming forward for last week’s series. Continued on page 4 Auction heads become dealers Pick Newton’s homage to Dorset Two long-standing auction department of the heads launch second careers as dealers this week month. tops Gloucestershire house sale David Houlston (oak furniture and works of art) and Paul Raison (Old Masters) Duke’s sale of property from Wormington Grange near paints manufacturer Winsor & Newton, enjoyed only a both recently left senior positions at Broadway in Gloucestershire held in Dorchester from modest career and went largely unrecognised during his Bonhams and Christie’s respectively. May 12-14 included a record for the Modern British lifetime.
    [Show full text]
  • 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).
    [Show full text]
  • Perseus and the Gorgon Free Download
    PERSEUS AND THE GORGON FREE DOWNLOAD Rob Lloyd Jones,Simona Bursi | 64 pages | 01 Oct 2011 | Usborne Publishing Ltd | 9781409522331 | English | London, United Kingdom Perseus and the Gorgon (detail) And, like many, he was born to a human mother. According to historian Joseph Campbell —the Perseus and the Gorgon used the Medusa story to justify the destruction of idols and temples of Perseus and the Gorgon ancient goddess mother wherever they found them. And these are why, of course, the goddess Athena is so important: It is she who advises Perseus, for she is wisdom and part of wisdom is foresight. And in every such screening myth — in every such mythology that of the Bible being, as we have just seen, another of the kind — there enters in an essential duplicity, the consequences of which cannot be disregarded or suppressed. She is killed by the hero Perseuswho cuts off her head. Views Read Edit View history. All three were vicious and deadly, but Medusa was particularly terrible. Main article: Cultural depictions of Medusa and Gorgons. In the Bibliotheca[20] the inevitable occurred by another route: Perseus did return to Argos, but when Acrisius learned of his grandson's approach, mindful of the oracle he went into voluntary exile in Pelasgiotis Thessaly. He had just invented the quoit and was making a public display of them when Acrisius, who happened to be visiting, stepped into the trajectory of the quoit and was killed: thus the oracle was fulfilled. Moore Articles. Website LinkedIn. ThoughtCo uses cookies to provide you with a great user experience.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]