This document provides an overview of early modern sculpture from the 1860s-1914, focusing on key sculptors including Auguste Rodin, Constantin Brancusi, Camille Claudel, and Jacob Epstein. It summarizes Rodin's unconventional realistic style and controversial works like The Thinker and The Gates of Hell. It also discusses Brancusi's transition to abstraction with works like Bird in Space and Claudel's work alongside and relationship with Rodin. Epstein's mechanized sculpture The Rock Drill incorporating Cubism is also mentioned.
This document provides an overview of early modern sculpture from the 1860s-1914, focusing on key sculptors including Auguste Rodin, Constantin Brancusi, Camille Claudel, and Jacob Epstein. It summarizes Rodin's unconventional realistic style and controversial works like The Thinker and The Gates of Hell. It also discusses Brancusi's transition to abstraction with works like Bird in Space and Claudel's work alongside and relationship with Rodin. Epstein's mechanized sculpture The Rock Drill incorporating Cubism is also mentioned.
This document provides an overview of early modern sculpture from the 1860s-1914, focusing on key sculptors including Auguste Rodin, Constantin Brancusi, Camille Claudel, and Jacob Epstein. It summarizes Rodin's unconventional realistic style and controversial works like The Thinker and The Gates of Hell. It also discusses Brancusi's transition to abstraction with works like Bird in Space and Claudel's work alongside and relationship with Rodin. Epstein's mechanized sculpture The Rock Drill incorporating Cubism is also mentioned.
Auguste Rodin Constantin Brancusi Camille Claudel Jacob Epstein 1860s-1914 Since the 17th cent, academic sculpture students copied plaster casts for years before advancing to drawing from real life and modeling in clay Greek, Roman, Renaissance From a big statue to draw it Stylistic variation Jean Baptiste Carpeaux was known for life-like figures The Dance, 1867-68, L’ Opera, Paris Dancing nymphs; more people to appreciate his sculptures Ask people off the streets for their face and paid for models for their poses Used lived models realistically-animated, real life poses Auguste Rodin Born into the working class. Too poor to study sculpture at the Ecole des Beaux Arts (or didn’t’ pass the entrance exam)- instead attended the decorative arts division and studied under Carpeaux Unconventional from the start Rodin. Man with a Broken Nose. 1864, bronze Introduce the ugly in sculptures So odd too; no one knows whose body it belonged to Subject: a beggar in his neighborhood or a possible self-portrait? Trained as a decorative sculptor Gift for modeling Realism, as defined by Courbet, had never been attempted in sculpture until Rodin came along After a trip to Italy Rodin did this, his most conservative work-he would not repeat it Allegorical: represents “youth” Salon critics accused him of casting it from life; so realistic His model, August Neyt was proof Never did something this traditional again Most talked about work at the Academy Salon of 1880 (in plaster) St. John the Baptist Preaching, 1878-80, 6’7”, bronze o Controversy due to the fact a biblical figure was in a very striking pose; not a traditional figure of looking at the Bible o Did another piece and took the head off o No arms or head; just legs to create a walking figure Walking Man. 1878, bronze (cast 1907) o Finished the sculpture, but didn’t give the rest of his body parts o Taken away the identity; huge anonymous figure o Power in expression Evokes the fragmentation of antique sculpture Identified is denied us, it cannot serve as allegory, it is pure expression Not beautiful; or not classical in pose or type Rodin a symbolist? Is he trying to make human more abstract or feel something else in someway? Unknown Studio filled with his fragments; knarly looking hands and different position of body parts Commissioned for a planned Decorative Arts Museum Gates of Hell, 1880-1917, bronze (cast posthumously) Few saw in the academy that he was their champion Went through a lot of stages Still making changes in it during his life Preliminary stages were created in clay plaster Great deal of 3D; figures coming in and out Acknowledges the art nouveau Rodin’s door is also allegory-the gates of Hell inspired by Dante’s Inferno Dante’s Inferno for his epic poem, The Divine Comedy, 14th century Everywhere in France was in love with spooky things at the time Three Shades, 1881-86 On top of the gates Beyond the ability of the humans to pose in that form Extreme agony; distress Signature of Rodin Adam, 1880, Bronze Signature of stretch neck pose Extreme sense of mind and body The Thinker, 1880-1902, bronze Originally called The Poet Rodin’s thinker thinks, not just with his brain, but also with his body But Rodin’s critic objected to the fact the figure looked like a common laborer Believed in workers’ rights First cast in 1902, friends among artists and writers raised the money for it, and put it in front of the Pantheon People had mixed feelings about it and they raised money to take it down o Marble version was placed on his graved Rodin Copies 20 full-scale casts of The Thinker As a result, Rodin challenged the notion of the unique work (singular) of art Rodin’s sculpture is all over the world Many of Rodin’s bronze sculptures were copied in marble; mostly by the best stone carvers among his studio staff Rodin, The Kiss, 1889, bronze Commissioned by the City of Calais to commemorate a story of local heroism during the medieval period (14th cent) Edward III of England laid siege to the city Spare the city by killing the 3 men to spare the people Edward honored there word and agreed They were separated but someone put them together City of Calais were not happy because it gave too much realistic emotion and made them uncomfortable Rodin planned without a base, as individual figures placed at eye-level, viewers could walk among them The Burghers of Calais, 1884-88, bronze Balzac was commissioned by a literary society in Paris. Honore de Balzac was a celebrated early 19th cent playwright Monument to Balzac. 1892-98, bronze Did a lot of research on Balzac who was a pudgy guy Symbolism art nouveau Was asked constantly where the statue was but he kept throwing away the ideas once he created them Put him in his bathrobe since Balzac worked a lot in it Embraced the ugly; commissioner did not like it because it was too grotesque Rodin mentored many former studio assistants Emile-Antoine Bourdelle, Hercules the Archer, 1909, bronze Successful at the academy; boldness in poses Let the arrow go Exciting work Camille Claudel (1864-1943) Worked for Rodin 1884-1892 Protégée in art Rodin. Thought (portrait of Camille Claudel), 1886, marble She worked in a bonnet Had an affair with him She did a lot of modeling for him Camille posed for many figures on the Gates Claudel’s poses contributed ideas to sculptures and groupings Camille Claudel, Gossipers, 1897, green marble Paranoid; people stole her work/ideas by the men or Rodin Didn’t want to be a hidden mistress 30 years in asylum by her family Constantin Brancusi (1876-1957) From Romania; didn’t have much school; had a lot of brothers and sisters Ran away at age 14 to find his purpose in life after his father died Studied crafts and cabinet making Brancusi worked in Rodin’s studio in 1907 Boy, 1907, bronze Rodin has gotten too popular and he won’t be able to grow in fame or in his art Closed eyes; human posture idea Sleeping Muse, 1910-11, marble Abstract work Egg shaped portrait; no neck or ears Transformed Also recreated in Bronze The New Born, 1915, marble Open mouth Almost could hear the cry of a baby Brancusi, The Kiss, 1908 Two figures put together to almost appear one eye and one body Bird in Space, 1925, marble/1928, bronze Maiastra- mythical bird in Romanian folklore Pure abstract Sense of flight Convey a sense of mind; mirror finish to reflect everything in the room Adam and Eve, 1916-21, oak, chestnuts and limestone; 7+’ h Used different genitalia in his work Eve holding Adam up In his 2-part sculpture Brancusi uses one “figure” as the base for the other Brancusi was known for playing with the notion of the sculptural base; either omitting it altogether or stacking bases and figures on top of each other Here, the use of the female figure as base for the male creates a commentary on the notions of gender and sexuality Endless Column, oak, ca. 1918 Many versions and created over and over again One was used in Park in Targu Jie in Romania Jacob Epstein (1880-1959) American born Jewish sculptor who became a British citizen in 1911 The Rock Drill, 1913-14, bronze (cast posthumously, 1962, Tate Britain Stretched neck Gun arm Done in plaster; drill used in the streets; creature riding it Violent; robotic, militaristic figure Has a wielder’s cap as his face Done in WWI, incorporates knowledge of cubism Epstein was briefly close t a British group called Vorticists