• "Balzac" by Auguste Rodin. Modeled 1897; cast 1925. Bronze. 41 3/4 x 15 3/4 x 13 3/4 inches. Bequest of Jules E. Mastbaum, 1929. Image courtesy of Philadelphia Museum of Art, 2019.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "Head of Sorrow (Joan of Arc)" by Auguste Rodin. Modeled c. 1882, enlarged 1905; cast 1925. Bronze 17 × 19 1/2 × 21 1/4 inches. Bequest of Jules E. Mastbaum, 1929. Image courtesy of Philadelphia Museum of Art, 2019.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "Project for the 'Monument to Eugène Carrière'" by Auguste Rodin. Modeled 1912; cast 1926. Plaster. 16 x 7 x 7 3/4 inches. Bequest of Jules E. Mastbaum, 1929. Image courtesy of Philadelphia Museum of Art, 2019.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "Third Architectural Model for 'The Gates of Hell'" by Auguste Rodin. Modeled c. 1881-1882; cast 1926 Terracotta. 39 1/2 x 24 3/4 x 6 3/4 inches. Gift of the estate of Jules E. Mastbaum, 1938. Image courtesy of Philadelphia Museum of Art, 2019.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "Scene from the French Revolution" by Auguste Rodin, French, 1840 – 1917. Modeled c. 1879. Wax on wood. 8 x 15 x 1 1/2 inches. Purchased with Museum funds, 1970. Image courtesy of Philadelphia Museum of Art, 2019.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "The Burghers of Calais" by Auguste Rodin. Modeled 1884-1895; cast in bronze 1919-1921. 6 feet 10 1/2 inches × 7 feet 10 inches × 6 feet 3 inches. Bequest of Jules E. Mastbaum, 1929. Post conservation image. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Constance Mensh.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "Joan of Arc" by Emmanuel Frémiet, c. 1874. Gilded bronze, 29 x 18 x 7 inches. Gift of the family of Frederic H. Strawbridge, 1959. Image courtesy of Philadelphia Museum of Art, 2019.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "Man with a Lamb [Man with Sheep]" by Pablo Ruiz y Picasso, Modeled 1943, cast in bronze between 1948 and 1950, 6 feet 7 1/2 inches × 30 inches × 29 1/2 inches; Base: 27 × 26 inches. © Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Gift of R. Sturgis and Marion B. F. Ingersoll, 1958. Image courtesy of Philadelphia Museum of Art, 2019.
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  • "First Study for Government of the People" by Jacques Lipchitz, 1967. Bronze. 16 1/2 x 10 1/2 x 6 inches. © The Estate of Jacques Lipchitz, courtesy Marlborough Gallery, New York. Gift of Mr. and Mrs. Paul M. Ingersoll, 1981. Image courtesy of Philadelphia Museum of Art, 2019.
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  • "Standing Figure" by Alberto Giacometti, 1957-1958. Bronze. 10 7/8 x 3 1/8 x 6 3/4 inches. © 2009 Artists Rights Society (ARS), New York / ADAGP / FAAG, Paris. The Louis E. Stern Collection, 1963. Image courtesy of Philadelphia Museum of Art, 2019.
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  • "The Dancers (Sailor and Sweetheart)" by Chana Orloff. Modeled 1923, cast in bronze. 1929. 38 1/2 x 21 x 16 inches. Artists Rights Society (ARS), New York / ADAGP, Paris. Purchased with the Bloomfield Moore Fund, 1937. Image courtesy of Philadelphia Museum of Art, 2019.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • "Growth" by Jean (Hans) Arp. 1938. Bronze. 31 1/4 x 12 1/2 x 7 3/8 inches Base: 20 1/8 x 8 3/4 x 8 3/4 inches. © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Gift of Curt Valentin, 1950. Image courtesy of Philadelphia Museum of Art, 2019.
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  • "Small Horseman" by Marino Marini, 1949. Bronze. 16 3/8 × 6 1/8 × 11 inches (41.6 × 15.6 × 27.9 cm). Artists Rights Society (ARS), New York / SIAE, Rome. The Louis E. Stern Collection, 1963. Image courtesy of Philadelphia Museum of Art, 2019.
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  • Installation image of Rethinking the Modern Monument, Rodin Museum. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Timothy Tiebout.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • Installation image of Rethinking the Modern Monument, Rodin Museum. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Timothy Tiebout.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • Installation image of Rethinking the Modern Monument, Rodin Museum. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Timothy Tiebout.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • Installation image of Rethinking the Modern Monument, Rodin Museum. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Timothy Tiebout.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • Installation image of Rethinking the Modern Monument, Rodin Museum. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Timothy Tiebout.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • Installation image of Rethinking the Modern Monument, Rodin Museum. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Timothy Tiebout.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
  • Installation image of Rethinking the Modern Monument, Rodin Museum. Image courtesy of Philadelphia Museum of Art, 2019. Photo by Timothy Tiebout.
    Important: By downloading this image, you are agreeing to the following permissions: Images are provided exclusively to the press, and only for purposes of publicity for the duration of an exhibition at the PMA. The Museum grants permission to use images only to the extent of its ownership rights relating to those images--the responsibility for any additional permissions remains solely with the party reproducing the images. In addition, the images must be accompanied by the credit line and any copyright information as it appears above, and the party reproducing the images must not distort or mutilate the images.
04
February
2019
|
15:14 PM
America/New_York

Rethinking the Modern Monument at The Rodin Museum

The Rodin Museum has reopened with a new installation that explores Auguste Rodin’s innovative, often controversial, approach to designing public monuments. Rethinking the Modern Monument places a number of his designs for sculptures that were intended to be displayed in prominent public spaces in direct conversation with one another to help us reconsider and reflect on the form and function of monuments during Auguste Rodin’s time and thereafter.

Rodin chose not to celebrate the subjects that had long been associated with monumental public sculpture—for example, royalty and victorious military leaders—instead commemorating artists, poets and intellectual figures or giving form to emotions and abstract ideas. The installation features many of the artist’s best-known works and includes sculpture by other modern artists who were inspired by the boldness and realism of Rodin’s designs as well as his iconoclastic approach to the public monument. Varying in size and media, from life-sized statues in bronze to smaller plaster studies, the installation asks questions that remain vital today: what is the proper function of the public monument, what should it look like, and who decides the subject and what form it should take?

Rodin held strong convictions about what a public monument should be. In 1907, he stated his view to the French art critic Paul Gsell: “By convention, a statue in a public place must represent a great man in a theatrical attitude which will cause him to be admired by posterity. But such reasoning is absurd…. There is nothing more beautiful than the absolute truth or real existence.” From the 1870s until his death in 1917, Rodin designed monuments for France during times of major political, social and economic change. Many of these works shocked critics and the public alike.

Rodin’s first commission for a public monument in France was The Gates of Hell (modeled 1880–1917, cast 1926­­­–28), originally intended as the doors of a planned museum of decorative art. A terracotta model on view shows that Rodin almost immediately deviated from the program he had been given for this work, transforming the doors in the process into a complex and dramatic sculpture on which he would work for the rest of his life. In a nearby gallery, Rodin’s animated design for Scene from the French Revolution (modeled in wax around 1879) is shown as an example of a commission he pursued but never realized. It was intended for a monument in Paris that would have commemorated the creation of the French Republic.

Another gallery contains various studies for the figure of the renowned French writer Honoré de Balzac (1799–1850), demonstrating Rodin’s deep engagement throughout the 1890s with creating a powerful monument to this celebrated literary figure. While Rodin’s initial interest was to portray the writer in a realistic manner, it soon evolved into an ambitious effort to express the essence of Balzac’s genius. When the sculpture was presented to the public in 1898 it was severely criticized. Many years later, Rodin’s bronze monument of Balzac was erected in Paris on the boulevard Raspail, near the corner of the boulevard Montparnasse. A small-scale bronze version of the monument is on view in the galleries.

Modern works by other European sculptors show how the debate over the nature and purpose of public monuments continued long after Rodin’s death, especially during periods of social tumult and change. The installation includes bronze sculptures by Jean Arp, Barbara Hepworth, Jacques Lipchitz, Marino Marini, Chana Orloff, and Alberto Giacometti, among others, displayed alongside Rodin’s work. Picasso’s Man with a Lamb (1943) is highlighted as an example of a statue that Picasso initially felt was not symbolic in meaning, but later he gave a bronze cast of the work to the French city of Vallauris, where it has since been interpreted as a war memorial commemorating those who fought fascism.

The focus on monuments is reflected both inside and outside the museum’s walls. In addition to Rodin’s Gates of Hell on the portico, other public works include Burghers of Calais (modeled 1884–95, cast 1919–21), made to commemorate the heroism of six leading citizens of the French port of Calais, who offered their own lives to King Edward III of England when he laid siege to the city in 1346 in exchange for the guarantee of safety for its inhabitants. On Kelly Drive near the Philadelphia Museum of Art is a version of Emmanuel Frémiet’s heroic Joan of Arc (c. 1874), a statue that came to Philadelphia in 1890 when it was purchased by the Fairmount Park Art Association (now the Association for Public Art) on behalf of the city’s French community and as a symbol of France’s historic friendship with the United States. Frémiet’s small-scale version of this monument is on view in the Rodin Museum galleries, as is Rodin’s own more anguished study for an unrealized monument to Joan of Arc, who lost her life defending France against the English during the Hundred Years’ War.

The exhibition is organized by Alexander Kauffman, Andrew W. Mellon–Anne d’Harnoncourt Postdoctoral Curatorial Fellow. An audio guide features the voice of Kauffman and photos of the different locales across France where many of Rodin’s public monuments stand today. Kauffman said: “This installation aims to expand upon the idea of the modern monument. Through exploring Rodin’s history and models for monuments this display can spark connections to the ongoing conversation about new approaches and meanings to monuments today.”

Curator
Alexander Kauffman, Andrew W. Mellon–Anne d’Harnoncourt Postdoctoral Curatorial Fellow

Location
Rodin Museum, 2151 Benjamin Franklin Parkway

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