LaurieAnnie's photos with the keyword: Rodin

Pierre Puvis de Chavannes modeled ca. 1890, cast ca. 1910 Object Details Artist: Auguste Rodin (French, Paris 1840–1917 Meudon) Founder: Cast by Alexis Rudier (French) Date: modeled ca. 1890, cast ca. 1910 Culture: French Medium: Bronze Dimensions: Overall (wt. confirmed): 21 × 20 × 12 1/2 in., 44.2 lb. (53.3 × 50.8 × 31.8 cm, 20 kg) Classification: Sculpture-Bronze Credit Line: Gift of Thomas F. Ryan, 1910 Accession Number: 11.173.8 Rodin neither selected his male and female sitters in the same way, nor approached them in the same way artistically. For the most part, he chose male subjects for their achievement and character, his female sitters for their beauty or sensuality. Of the many painters who made Paris the great center of artistic creativity that it was in the second half of the nineteenth century, the two whom Rodin most respected were Eugène Carrière and Pierre Puvis de Chavannes. In the matter of portraiture, Puvis proved no less difficult than some of Rodin's other friends. The painter was, in fact, very upset with the first, bare-chested bust that Rodin modeled in 1880, at the commission of the French Ministry of Fine Arts, and he was less than happy with the clothed version. Years later Rodin would say "Puvis de Chavannes did not like my bust of him…He thought that I had caricatured him. And yet I am certain that I have expressed in my sculpture all the enthusiasm and veneration that I felt for him." Text from: www.metmuseum.org/art/collection/search/191810

Pierre Puvis de Chavannes modeled ca. 1890, cast ca. 1910 Object Details Artist: Auguste Rodin (French, Paris 1840–1917 Meudon) Founder: Cast by Alexis Rudier (French) Date: modeled ca. 1890, cast ca. 1910 Culture: French Medium: Bronze Dimensions: Overall (wt. confirmed): 21 × 20 × 12 1/2 in., 44.2 lb. (53.3 × 50.8 × 31.8 cm, 20 kg) Classification: Sculpture-Bronze Credit Line: Gift of Thomas F. Ryan, 1910 Accession Number: 11.173.8 Rodin neither selected his male and female sitters in the same way, nor approached them in the same way artistically. For the most part, he chose male subjects for their achievement and character, his female sitters for their beauty or sensuality. Of the many painters who made Paris the great center of artistic creativity that it was in the second half of the nineteenth century, the two whom Rodin most respected were Eugène Carrière and Pierre Puvis de Chavannes. In the matter of portraiture, Puvis proved no less difficult than some of Rodin's other friends. The painter was, in fact, very upset with the first, bare-chested bust that Rodin modeled in 1880, at the commission of the French Ministry of Fine Arts, and he was less than happy with the clothed version. Years later Rodin would say "Puvis de Chavannes did not like my bust of him…He thought that I had caricatured him. And yet I am certain that I have expressed in my sculpture all the enthusiasm and veneration that I felt for him." Text from: www.metmuseum.org/art/collection/search/191810

Pierre Puvis de Chavannes Auguste Rodin (French, Paris 1840–1917 Meudon) Founder: Cast by Alexis Rudier (French) Date: probably modeled in 1890, this bronze cast probably ca. 1910 Culture: French Medium: Bronze Dimensions: H. 21 in. (53.3 cm.); W. 20 in. (50.8 cm.); D. 12-1/2 in. (31.8 cm.) Classification: Sculpture-Bronze Credit Line: Gift of Thomas F. Ryan, 1910 Accession Number: 11.173.8 Text from: www.metmuseum.org/collection/the-collection-online/search/191810

Pierre Puvis de Chavannes Auguste Rodin (French, Paris 1840–1917 Meudon) Founder: Cast by Alexis Rudier (French) Date: probably modeled in 1890, this bronze cast probably ca. 1910 Culture: French Medium: Bronze Dimensions: H. 21 in. (53.3 cm.); W. 20 in. (50.8 cm.); D. 12-1/2 in. (31.8 cm.) Classification: Sculpture-Bronze Credit Line: Gift of Thomas F. Ryan, 1910 Accession Number: 11.173.8 Text from: www.metmuseum.org/collection/the-collection-online/search/191810

Auguste Rodin. French, 1840-1917 Gustav Mahler 1909 Bronze Accession # 1993.363.73 Ascetic, sharp features give the composer an aristocratic look. Gustav Mahler (1860-1911) modeled for Rodin, though the sittings were difficult to endure for the nervous composer, who saw rest as "time wasted away from his work," as Alma Mahler remembered. Text from the Metropolitan Museum of Art label.

Auguste Rodin. French, 1840-1917 Gustav Mahler 1909 Bronze Accession # 1993.363.73 Ascetic, sharp features give the composer an aristocratic look. Gustav Mahler (1860-1911) modeled for Rodin, though the sittings were difficult to endure for the nervous composer, who saw rest as "time wasted away from his work," as Alma Mahler remembered. Text from the Metropolitan Museum of Art label.

In the late 1880's Rodin continued to receive commissions for public monuments including a monument to painter Claude Lorrain and another monument to French novelist Victor Hugo. In 1891 Rodin received a commission by the Société des Gens de Lettres (the Society of Men of Letters) to create a monument to their founder, French writer Honoré de Balzac. Since Balzac had been dead for forty years, Rodin faced the challenge of having to render his likeness from photographs. He researched the writer extensively, going so far as to order a suit from Balzac's tailor to visualize his size and girth. Rodin worked on the Monument to Balzac for seven years. He completed at least fifty studies, some based on Balzac's actual appearance and others more subjective and abstract. Most of the studies were of Balzac's head, as Rodin felt it more important to emphasize the heads of people of such high intellect. He finished the monument in 1898 and presented the final nine-foot plaster model to the public. It was met with outrage, disbelief, and ridicule, and as a result the literary society refused to accept it. Deeply hurt by the criticism, Rodin removed the sculpture to his studio at Meudon, outside of Paris, and refused to allow it to be cast during his lifetime. Text from: www.cantorfoundation.org/Rodin/rbiom.html

The Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1888. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. The story goes that England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais and Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege and starvation eventually forced the city to parlay for surrender. Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out almost naked and wearing nooses around their necks and be carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers soon followed suit and they stripped down to their breeches. Saint Pierre led this envoy of emaciated volunteers to the city gates and it is this moment and this poignant mix of defeat, heroic self-sacrifice and the facing of imminent mortality that Rodin captures in these figures, which are scaled somewhat larger than life. In history, though the burghers expected to be executed, their lives were spared by the intervention of England's Queen, Philippa of Hainault. The monument was proposed by the mayor of Calais for the town's square in 1880. This was an unusual move, because normally only monuments to Victory were constructed, but France had suffered devastating losses in its defeat in the Franco-Prussian War and it longed to recognize the sacrifice that its young men had made. Rodin's design was controversial, as it did not present the burghers in a heroic manner, rather they appeared sullen and worn. The monument was innovative in that it presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city council of Calais, against Rodin's wishes, displayed the statue on an elevated base. Some installations have the figures tightly grouped with contiguous bases, while others have the figures separated. Some installations are elevated on pedestals, others are placed at ground level, and at least one is slightly sunken, so that the tops of the bases of the figures are level with the ground. While the original statue still stands in Calais, other versions stand in Victoria Tower Gardens in the shadow of the Houses of Parliament in London t he gardens of the Musée Rodin in Paris at Glyptoteket in Copenhagen the Israel Museum in Jerusalem the Rodin Gallery in Seoul This is the 12th and final cast in the edition. This gallery also houses the 7th (out of 8) cast of the Gates of Hell. There is currently no 8th cast. the National Museum of Western Art in Tokyo the sculpture garden of the National Gallery of Australia, Canberra Stanford University's Iris & B. Gerald Cantor Center for Visual Arts has several smaller studies of this work (as well as a number of other Rodin pieces). Stanford's installation has the six figures sunk slightly into the ground, concealing the bottom few inches of the bases of each sculpture, and the figures are spaced such that viewers can walk between them and view them from several sides. The museum claims that this is how Rodin wished them to be displayed. the Norton Simon Museum in Pasadena, California the sculpture garden of the Smithsonian Hirshhorn Museum in Washington, D.C. the Rodin Museum in Philadelphia the Metropolitan Museum of Art in New York City. Figures grouped together. the Brooklyn Museum in New York City Kunstmuseum (Art Museum) Basel. Text from: en.wikipedia.org/wiki/The_Burghers_of_Calais

The Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1888. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. The story goes that England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais and Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege and starvation eventually forced the city to parlay for surrender. Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out almost naked and wearing nooses around their necks and be carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers soon followed suit and they stripped down to their breeches. Saint Pierre led this envoy of emaciated volunteers to the city gates and it is this moment and this poignant mix of defeat, heroic self-sacrifice and the facing of imminent mortality that Rodin captures in these figures, which are scaled somewhat larger than life. In history, though the burghers expected to be executed, their lives were spared by the intervention of England's Queen, Philippa of Hainault. The monument was proposed by the mayor of Calais for the town's square in 1880. This was an unusual move, because normally only monuments to Victory were constructed, but France had suffered devastating losses in its defeat in the Franco-Prussian War and it longed to recognize the sacrifice that its young men had made. Rodin's design was controversial, as it did not present the burghers in a heroic manner, rather they appeared sullen and worn. The monument was innovative in that it presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city council of Calais, against Rodin's wishes, displayed the statue on an elevated base. Some installations have the figures tightly grouped with contiguous bases, while others have the figures separated. Some installations are elevated on pedestals, others are placed at ground level, and at least one is slightly sunken, so that the tops of the bases of the figures are level with the ground. While the original statue still stands in Calais, other versions stand in Victoria Tower Gardens in the shadow of the Houses of Parliament in London t he gardens of the Musée Rodin in Paris at Glyptoteket in Copenhagen the Israel Museum in Jerusalem the Rodin Gallery in Seoul This is the 12th and final cast in the edition. This gallery also houses the 7th (out of 8) cast of the Gates of Hell. There is currently no 8th cast. the National Museum of Western Art in Tokyo the sculpture garden of the National Gallery of Australia, Canberra Stanford University's Iris & B. Gerald Cantor Center for Visual Arts has several smaller studies of this work (as well as a number of other Rodin pieces). Stanford's installation has the six figures sunk slightly into the ground, concealing the bottom few inches of the bases of each sculpture, and the figures are spaced such that viewers can walk between them and view them from several sides. The museum claims that this is how Rodin wished them to be displayed. the Norton Simon Museum in Pasadena, California the sculpture garden of the Smithsonian Hirshhorn Museum in Washington, D.C. the Rodin Museum in Philadelphia the Metropolitan Museum of Art in New York City. Figures grouped together. the Brooklyn Museum in New York City Kunstmuseum (Art Museum) Basel. Text from: en.wikipedia.org/wiki/The_Burghers_of_Calais

The Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1888. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. The story goes that England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais and Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege and starvation eventually forced the city to parlay for surrender. Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out almost naked and wearing nooses around their necks and be carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers soon followed suit and they stripped down to their breeches. Saint Pierre led this envoy of emaciated volunteers to the city gates and it is this moment and this poignant mix of defeat, heroic self-sacrifice and the facing of imminent mortality that Rodin captures in these figures, which are scaled somewhat larger than life. In history, though the burghers expected to be executed, their lives were spared by the intervention of England's Queen, Philippa of Hainault. The monument was proposed by the mayor of Calais for the town's square in 1880. This was an unusual move, because normally only monuments to Victory were constructed, but France had suffered devastating losses in its defeat in the Franco-Prussian War and it longed to recognize the sacrifice that its young men had made. Rodin's design was controversial, as it did not present the burghers in a heroic manner, rather they appeared sullen and worn. The monument was innovative in that it presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city council of Calais, against Rodin's wishes, displayed the statue on an elevated base. Some installations have the figures tightly grouped with contiguous bases, while others have the figures separated. Some installations are elevated on pedestals, others are placed at ground level, and at least one is slightly sunken, so that the tops of the bases of the figures are level with the ground. While the original statue still stands in Calais, other versions stand in Victoria Tower Gardens in the shadow of the Houses of Parliament in London t he gardens of the Musée Rodin in Paris at Glyptoteket in Copenhagen the Israel Museum in Jerusalem the Rodin Gallery in Seoul This is the 12th and final cast in the edition. This gallery also houses the 7th (out of 8) cast of the Gates of Hell. There is currently no 8th cast. the National Museum of Western Art in Tokyo the sculpture garden of the National Gallery of Australia, Canberra Stanford University's Iris & B. Gerald Cantor Center for Visual Arts has several smaller studies of this work (as well as a number of other Rodin pieces). Stanford's installation has the six figures sunk slightly into the ground, concealing the bottom few inches of the bases of each sculpture, and the figures are spaced such that viewers can walk between them and view them from several sides. The museum claims that this is how Rodin wished them to be displayed. the Norton Simon Museum in Pasadena, California the sculpture garden of the Smithsonian Hirshhorn Museum in Washington, D.C. the Rodin Museum in Philadelphia the Metropolitan Museum of Art in New York City. Figures grouped together. the Brooklyn Museum in New York City Kunstmuseum (Art Museum) Basel. Text from: en.wikipedia.org/wiki/The_Burghers_of_Calais

The Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1888. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. The story goes that England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais and Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege and starvation eventually forced the city to parlay for surrender. Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out almost naked and wearing nooses around their necks and be carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers soon followed suit and they stripped down to their breeches. Saint Pierre led this envoy of emaciated volunteers to the city gates and it is this moment and this poignant mix of defeat, heroic self-sacrifice and the facing of imminent mortality that Rodin captures in these figures, which are scaled somewhat larger than life. In history, though the burghers expected to be executed, their lives were spared by the intervention of England's Queen, Philippa of Hainault. The monument was proposed by the mayor of Calais for the town's square in 1880. This was an unusual move, because normally only monuments to Victory were constructed, but France had suffered devastating losses in its defeat in the Franco-Prussian War and it longed to recognize the sacrifice that its young men had made. Rodin's design was controversial, as it did not present the burghers in a heroic manner, rather they appeared sullen and worn. The monument was innovative in that it presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city council of Calais, against Rodin's wishes, displayed the statue on an elevated base. Some installations have the figures tightly grouped with contiguous bases, while others have the figures separated. Some installations are elevated on pedestals, others are placed at ground level, and at least one is slightly sunken, so that the tops of the bases of the figures are level with the ground. While the original statue still stands in Calais, other versions stand in Victoria Tower Gardens in the shadow of the Houses of Parliament in London the gardens of the Musée Rodin in Paris at Glyptoteket in Copenhagen the Israel Museum in Jerusalem the Rodin Gallery in Seoul This is the 12th and final cast in the edition. This gallery also houses the 7th (out of 8) cast of the Gates of Hell. There is currently no 8th cast. the National Museum of Western Art in Tokyo the sculpture garden of the National Gallery of Australia, Canberra Stanford University's Iris & B. Gerald Cantor Center for Visual Arts has several smaller studies of this work (as well as a number of other Rodin pieces). Stanford's installation has the six figures sunk slightly into the ground, concealing the bottom few inches of the bases of each sculpture, and the figures are spaced such that viewers can walk between them and view them from several sides. The museum claims that this is how Rodin wished them to be displayed. the Norton Simon Museum in Pasadena, California the sculpture garden of the Smithsonian Hirshhorn Museum in Washington, D.C. the Rodin Museum in Philadelphia the Metropolitan Museum of Art in New York City. Figures grouped together. the Brooklyn Museum in New York City Kunstmuseum (Art Museum) Basel. Text from: en.wikipedia.org/wiki/The_Burghers_of_Calais

The Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1888. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. The story goes that England's Edward III, after a victory in the Battle of Crécy, laid siege to Calais and Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege and starvation eventually forced the city to parlay for surrender. Edward offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out almost naked and wearing nooses around their necks and be carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers soon followed suit and they stripped down to their breeches. Saint Pierre led this envoy of emaciated volunteers to the city gates and it is this moment and this poignant mix of defeat, heroic self-sacrifice and the facing of imminent mortality that Rodin captures in these figures, which are scaled somewhat larger than life. In history, though the burghers expected to be executed, their lives were spared by the intervention of England's Queen, Philippa of Hainault. The monument was proposed by the mayor of Calais for the town's square in 1880. This was an unusual move, because normally only monuments to Victory were constructed, but France had suffered devastating losses in its defeat in the Franco-Prussian War and it longed to recognize the sacrifice that its young men had made. Rodin's design was controversial, as it did not present the burghers in a heroic manner, rather they appeared sullen and worn. The monument was innovative in that it presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city council of Calais, against Rodin's wishes, displayed the statue on an elevated base. Some installations have the figures tightly grouped with contiguous bases, while others have the figures separated. Some installations are elevated on pedestals, others are placed at ground level, and at least one is slightly sunken, so that the tops of the bases of the figures are level with the ground. While the original statue still stands in Calais, other versions stand in Victoria Tower Gardens in the shadow of the Houses of Parliament in London the gardens of the Musée Rodin in Paris at Glyptoteket in Copenhagen the Israel Museum in Jerusalem the Rodin Gallery in Seoul This is the 12th and final cast in the edition. This gallery also houses the 7th (out of 8) cast of the Gates of Hell. There is currently no 8th cast. the National Museum of Western Art in Tokyo the sculpture garden of the National Gallery of Australia, Canberra Stanford University's Iris & B. Gerald Cantor Center for Visual Arts has several smaller studies of this work (as well as a number of other Rodin pieces). Stanford's installation has the six figures sunk slightly into the ground, concealing the bottom few inches of the bases of each sculpture, and the figures are spaced such that viewers can walk between them and view them from several sides. The museum claims that this is how Rodin wished them to be displayed. the Norton Simon Museum in Pasadena, California the sculpture garden of the Smithsonian Hirshhorn Museum in Washington, D.C. the Rodin Museum in Philadelphia the Metropolitan Museum of Art in New York City. Figures grouped together. the Brooklyn Museum in New York City Kunstmuseum (Art Museum) Basel. Text from: en.wikipedia.org/wiki/The_Burghers_of_Calais

Auguste Rodin (French, 1840–1917). Pierre de Wiessant, circa 1886–87, cast 1979. Bronze. Brooklyn Museum, Gift of Iris and B. Gerald Cantor, 84.243 Text from: www.brooklynmuseum.org/exhibitions/rodin/

Auguste Rodin (French, 1840–1917). Pierre de Wiessant, circa 1886–87, cast 1979. Bronze. Brooklyn Museum, Gift of Iris and B. Gerald Cantor, 84.243 Text from: www.brooklynmuseum.org/exhibitions/rodin/

Auguste Rodin (French, 1840–1917). Pierre de Wiessant, circa 1886–87, cast 1979. Bronze. Brooklyn Museum, Gift of Iris and B. Gerald Cantor, 84.243 Text from: www.brooklynmuseum.org/exhibitions/rodin/

Auguste Rodin (French, 1840–1917). Pierre de Wiessant, circa 1886–87, cast 1979. Bronze. Brooklyn Museum, Gift of Iris and B. Gerald Cantor, 84.243 Text from: www.brooklynmuseum.org/exhibitions/rodin/

Auguste Rodin (French, 1840–1917). Pierre de Wiessant, circa 1886–87, cast 1979. Bronze. Brooklyn Museum, Gift of Iris and B. Gerald Cantor, 84.243 Text from: www.brooklynmuseum.org/exhibitions/rodin/