Mas Final Exam

Front 1

Whistler, "Portrait of the artist's mother."

Back 1

1871
same composition of Last Days of Childhood. pic of cecilia Beaux's sister- philadelphia family. society portrait. asymmetrical cropping style in both- infl of Japanese comp techn. ptg frame and matte on R, didn't have to include but balances pic.

Front 2

Thomas Hovenden, Breaking the Home Ties

Back 2

1890
Irish-Amer artist, abolitionist, studied under Cabanel, taught Calder, often pted Afr Amer.
a picture of American farm life, was engraved with considerable popular success.

Front 3

Sargent, Study of Egyptian Girl

Back 3

1891
exotic nude. unlike 8 other works at Expo- portraits of women and children. notion of othern-ness, race, class. (World Columbian Exhibition, Chicago 1893)

Front 4

Edward Emerson Simmons, The Carpenter's Son

Back 4

1888
no hidden symbolism, content of high art ptg- would have to be Jesus
Member of "The Ten" New england impressionists. excelled en plein air figure ptg. new england family- rel to ralph waldo emerson

Front 5

Anna Lea Merritt, Love Locked Out

Back 5

1893
english version (in amer version- wings attached, not nude child but fairy) lived in england. sentimental view, metaphor testament to artist's dead husband

Front 6

Sargent, Helen Dunham

Back 6

1892
new woman. women entering public sphere. silks and sattins. seems tense, anxious. red, tight fingers. "neuresthemia." apply to women who weren't controllable by men, insisted upon freedom.

Front 7

Dewing, The Days

Back 7

1887
The Ten- members of the group painted in an Impressionist style. Although their work did not differ radically in technique or subject matter from that of the artists who participated in the large annual exhibitions of the Society of American Artists and the National Academy of Design, they chose to exhibit independently, hoping to draw public attention to their paintings.
shallow frieze-like arrangement of robust, rhythmically interacting women in classical drapery

Front 8

Homer, Eight Bells

Back 8

1886. the masculin artist of Amer, late 19c. men pitted against nature, sea and hunting along coast. homosocial community of male bonding.

Front 9

Inness, Winter Morning Montclair

Back 9

1882
time and place, evocative. atmosphere.
hudson river school artist
mystical view of nature intensified, his pictures dissolved into shimmering colour, which was magnificent in itself and was no longer supported by formal construction

Front 10

Baldus, Gare d'Amiens

Back 10

1855
trained as a painter and had also worked as a draughtsman and lithographer before switching to photography in 1849. In 1851, he was commissioned for the Missions Héliographiques by the Historic Monuments Commission of France to photograph historic buildings, bridges and monuments, many of which were being razed to make way for the grand boulevards of Paris, being carried out under the direction of Napoleon III's prefect Baron Georges-Eugène Haussmann.
high quality of his work won him government support for a project entitled Les Villes de France Photographiées, an extended series of architectural views in Paris and the provinces designed to feed a resurgent interest in the nation's Roman and medieval past.
used contact prints to create huge panoramic images- up to 8ft long. retouched negatives to blank out buildings and trees, add clouds.

Front 11

Fenton, Valley of Death, Crimea

Back 11

1855
takes photographic van to Crimean war- makes records, uses wetplates. plates getting ruined by plants, insects, takes 300+ photos. refl confines- no war, but troop movements, aftermath of battle.

Front 12

Robinson, Fading Away

Back 12

1857
picture skillfully printed from five different negatives. This work depicted the peaceful death of a young girl surrounded by her grieving family. Although the photograph was the product of Robinson's imagination, many viewers felt that such a scene was too painful to be tastefully rendered by such a literal medium as photography. The controversy, however, made him the most famous photographer in England and the leader of the Pictorialist movement, which advocated achieving painterly effects in photography.

Front 13

Reilander, Two Ways of Life

Back 13

1858
based on the background and arrangement of Raphael's School of Athens (1509–11) and was created by combining more than 30 negatives.
Pictorialist, imitating old masters composition, making photography fine art by imitating painting-elaborate compositions

Front 14

Clementina, Lady Hawarden, Untitled

Back 14

1860s
one of the most experimental and original photographers of the nineteenth century. She often used her children, husband and servants as models. The full-length looking-glass mirror which often appears in her pictures was known as a ‘psyche’ and is a visual pun on the Greek god ‘Psyche’, who represented the spiritual aspect of mankind. So the mirror and figures together in her pictures seem to represent the spiritual and material aspects of human life

Front 15

Cameron, Madonna with Child

Back 15

1870
made allegorical and illustrative studio photographs, posing and costuming family members and servants in imitation of the popular Romantic and Pre-Raphaelite paintings of the day
criticized for poor technique, but great portrait photographer

Front 16

Le Gray, Seascape

Back 16

1856
before Impressionism. used dry wax paper negatives- calotype.
enowned images are views of the sea (the Normandy coast and the Mediterranean) and landscapes with trees (notably in the forest of Fontainebleu), in which he often achieved dramatic cloud effects by using a separate negative to photograph the sky; this was then combined with another negative during printing to produce a single image. team assembled by the French Commission of Historical Monuments to make a photographic inventory of French monuments

Front 17

Marville, Demolition for the Avenue de l'Opera

Back 17

late 1860s
Haussmannisation of Paris. rench government commissioned several photographers to document historical buildings. Working with cameras making photographs as large as 20 by 29 inches (51 by 74 cm), produced remarkable calotypes of the cathedrals of Notre-Dame (Paris), Chartres, and Amiens, as well as other structures that were being restored after centuries of neglect.

Front 18

Nadar, Portrait of Dumas, Sr.

Back 18

1857
photographic portraits, which are considered to be among the best done in the 19th century.
direct and naturally posed, in contrast to the stiff formality of most contemporaneous portraits

Front 19

O'Sullivan, Canon de Chelle

Back 19

1873
surveys in the southwestern United States, during which he created powerful, carefully composed images of sweeping landscapes. During this time he also photographed Native Americans whom he met during his travels, portraying them with gravity and a deep sense of respect. worked in Brady's studio.

Front 20

Muybridge, Horse in Motion

Back 20

1878
pioneering work in photographic studies of motion and in motion-picture projection.
Leland Stanford hired him to prove that during a particular moment in a trotting horse's gait all four legs are off the ground simultaneously. His first efforts were unsuccessful because his camera lacked a fast shutter. In 1877 he returned to California and resumed his experiments in motion photography, using a battery of from 12 to 24 cameras and a special shutter he developed that gave an exposure of 2/1,000 of a second. This arrangement gave satisfactory results and proved Stanford's contention. used zoopraxiscope to display moving images- predecessor to cinema.

Front 21

Emerson, Poling Marsh Hay

Back 21

1886
naturalistic photography. photography was a medium of artistic expression superior to all other black-and-white graphic media because it reproduces the light, tones, and textures of nature with unrivaled fidelity. He was repelled by the contemporary fashion for composite photographs, which imitated sentimental genre paintings. photograph should be direct and simple and show real people in their own environment, not costumed models posed before fake backdrops or other such predetermined formulas.

Front 22

F. Evans, Wells Cathedral, Sea of Stpes

Back 22

1903
studies of cathedrals in England and France are considered among the world's finest architectural photographs. often spent weeks studying the light in a cathedral at various times of day, waiting to catch the precise effect he sought. A purist, he believed in never altering a photographic image after exposing the film. His goal was to create an aesthetically and spiritually satisfying image, utilizing the play of light and shadow on static architectural structures

Front 23

Monet, Cathedral (Rouen)

Back 23

1894
ptg same places in diff way. vision is personal, not reality
older, sees himself as bourgeois, middle-class. different than young, rebellious artist.
mature works, Monet developed his method of producing repeated studies of the same motif in series, changing canvases with the light or as his interest shifted. These series were frequently exhibited in groups

Front 24

Monet, The Poplars

Back 24

1891
ptg same places in diff way. vision is personal, not reality
older, sees himself as bourgeois, middle-class. different than young, rebellious artist.
mature works, Monet developed his method of producing repeated studies of the same motif in series, changing canvases with the light or as his interest shifted. These series were frequently exhibited in groups

Front 25

Pissarro, Apple Picking at Eragny sur Eptem

Back 25

1888
radical anarchist. unity of small rural community as alternative. shows in compositions. embr neo-impr as next mvmt- egalitarian, formal components. 1 w/ nature, not corrupted by society. rej of urban, modern, chaotic life. retreats to pontoise.

Front 26

Puvis de Chavannes, The Sacred Grove

Back 26

1884
mural painter of the later 19th century. He was largely independent of the major artistic currents of his time and was much admired by a diverse group of artists and critics, including Georges Seurat, Paul Gauguin, Charles Baudelaire, and Théophile Gautier. studied under Delacroix. exhibited at Salon, pted large canvases for city halls. resurrected archaic pictorial structures in which simple geometries, flattened silhouettes, and frail columnar rhythms offered an image of almost primordial innocence and clarity. espousal of ancient beauty legitimized his work in the official world of public prizes and commissions, but his willfully primitive style opened quite different vistas

Front 27

Signac, In Times of Harmony

Back 27

1894
woodcut- what post-anarch world would look like. after bourgeois destroyed. tractors, boats, picking fruit- no distinction btw leisure and labor

Front 28

Matisse, Joy of Life

Back 28

1906
arcadian landscape. contemporizes, sinuous line. harmonious image, expr sense of calmness joy- classical. this is NOT fauvism, notion of decorative theory. already leaving Fauvism and physical reality.

Front 29

Matisse, Luxe, Calme et Volupte

Back 29

1904-1905
adopts Signac's divisionist technique. color theory- quasi scientific- optical mixture- luminosity. breaking up signac's brushstrokes, injects sense of energy. divorce figs from phys reality. anticipates joy of life.

Front 30

Seurat, Seascape at Port-en-Bessin, Normandy

Back 30

1888
increased industrialization and social upheaval their choice of a radical new style was as anarchic as their allegiance to leftist politics. For some of them, however, art was also an escape from the crises of contemporary life. This spurred a search for the ideal that led to arcadian evocations in idyllic landscapes and mystical imagery.
summer of 1888 Seurat spent on the Normandy coast, where he produced numerous seascapes

Front 31

Odilon Redon, Ophelia Among the Flowers

Back 31

1905
oils and pastels, chiefly still lifes with flowers, won him the admiration of Henri Matisse and other painters as an important colourist. devoting himself to painting and colour drawing—sensitive floral studies, and heads that appear to be dreaming or lost in reverie. He developed a unique palette of powdery and pungent hues. imaginative over visual perception

Front 32

Cezanne, Large Bathers

Back 32

1902-1906
unfinished. 2 groups. mask-like undef faces. underlying geom order. ritual? parish church in distance. symbolist landscape. face of wife, hortense buried in landscape. reduced palette

Front 33

Degas, After the Bath

Back 33

1896
pting women in awkward moments and poses, voyeuristic, never quite part of scene. wants ppl to feel like looking thru keyhole. pastel. did he ask woman to pose this way? not being anatomically corr, just impr artificially to show sense of movement.

Front 34

Degas, The Name Day of the Madam

Back 34

1876-77
ppl say b/c women are depicted flatteringly- he is misogynistic. but he could be candidly recording in scientific way. not denunciation of prostitution.

Front 35

Toulouse-Lautrec, Femme au plateau

Back 35

1896

Front 36

Degas, Place de la Concorde

Back 36

1875
cropping, throwing away tradition. sense of alientation, not communicating. viscont la pique dogbreeder walking w/ 2 daughters. statues- rep all provinces of France, in pic- Alsace, Lorrain. harmony btw dog, father, children. - sociopolitical pics.

Front 37

Caillebotte, The Pont de l'Europe

Back 37

1876
at first few symbols of modern Paris- iron bridge. strange cropping, tight brushwork- defined figs. major player in Impr- doesn't work in series, but cloisers- ie of ppl looking out. quiet ptgs- detachment. no one talking, not antagonistic. after franco-prussian war. idea of domestic, inside caillebotte's apt.

Front 38

Caillebotte, The Luncheon

Back 38

1876
awkward composition. He subsequently began to show his work with the impressionists, who shared his interest in depicting realistic scenes of modern life. table laden with gleaming crystal and silver treats objects valued by the new bourgeoisie

Front 39

Caillebotte, The Floor Scrapers

Back 39

1876
he viewer looks down at such a steep angle that only the bottom third of the window is visible. Caillebotte’s depiction endowed the subjects of this painting—three shirtless, straining laborers—with a heroic quality. ejected it, doubtless for the strangeness of its viewpoint and for the vulgarity of its subject. He subsequently began to show his work with the impressionists, who shared his interest in depicting realistic scenes of modern life.

Front 40

Degas, Portrait of Madame et Monsieur Manet

Back 40

1868-69
Degas painted his fellow-artist listening to his wife playing the piano; Mme Manet was considered a particularly gifted player of German music. Degas gave the painting to Manet; but the latter was dissatisfied with Suzanne’s face and cut the canvas accordingly.

Front 41

Degas, Au cafe-concert: la Chanson du Chien

Back 41

1875-78
fan? interest new collectors work in diff sphere. movement of dancers on fan. fem accessory. leisure and pleasure. Working. increase of leisure society. She is working to give people leisure. serious side of Impressionism.

Front 42

Degas, Behind the Curtain

Back 42

1880
direct contact, knows dance teachers, sketching0 at performances. women in awk moments. real people, real dancers.

Front 43

Degas, Dancers in Blue

Back 43

1899
no longer going out- using same subj matter, no observ of dance. pastel works, make no sense- arm here, leg there. all cropped. intense reworking of models he'd seen.

Front 44

Caillebotte, A Balcony

Back 44

1880
lack of resolution, clues. sense of isolation- modernity.

Front 45

Degas, The Little Milliners

Back 45

1882
at last impr exhib, striped bckgd prevents our eyes from leaving material of dresses, int medium. hard to soft merge of blue and black. rhythm.

Front 46

Degas, Femme au tub

Back 46

1878
interest in reality- capt essence in work- transcribed in body. women in private moment. wants ppl to feel like looking thru keyhole. pastel, dresser. voyeuristic.

Front 47

Monet, Morning on the Seine, Near Giverny

Back 47

1896-97
The series "Morning on the Seine" was begun in 1896 but not completed until 1897 because of inclement weather. First, Monet patiently scouted out particular views along the river; then he painted the pictures from a boat that he had converted into a floating studio. For an extended period, he arose before dawn and reached his boat before sunrise in order to paint the changing effects of light as the sun came up. He then lined up the canvases on easels in his studio to complete them together. Eighteen of the pictures were shown at the Galerie Georges Petit in 1898. One was dated 1896, the others 1897.

Front 48

Degas, A Wooden Landscape

Back 48

1892
interest in reality, capt essence of work.??

Front 49

James Tissot, The Young Ladies of the Shop

Back 49

1883-85
int in capt spirit of mod life, but in collectable style at time. selling private clothing articles. man looking thru window.

Front 50

Pissarro, Bridge at Rouen

Back 50

1896
symbols of modern paris. strange cropping? detachment of mod life? i dont know

Front 51

Degas, Women Ironing

Back 51

1884-86
more int in actual condition, supporting oneself. big business at time. working class women- easy to get job. courseness of surface, diffic of life of these women. hardship of life.

Front 52

Ensor, Christ Entering the City of Brussels

Back 52

1889
about carnival- resp to Seurat's grande jatte- large ptg. banners- ensor as social critic. working in local color, incl of masks (like his parents sold), vive la sociale- long live socialism. period of strikes, red banner very imp. Christ small in center- as in Ren ptg, but not given prominence- part of mob. Belgians having own subj matter.

Front 53

Les XX Catalogue Cover

Back 53

1892
The Twenty- int in the new type of art. 20 belge, 20 invited artists- whistler, signac. internat'l group. run like Impr circle- exhib as group. cat each year- work of art itself. Belgium did not have Japoniste mvmt, but cat ahd print design 1890. typographical design.

Front 54

Khnopff, The poetry of Stephane Mallarme

Back 54

1892
aka listening to flowers. indescribable experience of indulging oneself completely with poetry. The subtitle “Listening to Flowers” seems nonsensical until you accept that listening to Mallarme’s poetry itself is often a non-rational, nonsensical exercise. Just as with artists trying to paint music, Khnopff sets himself up with a tremendous challenge in trying to translate poetry into a visual medium beyond just simple illustration. sister as model- favorite.

Front 55

Serusier, Portrait of Paul Ranson

Back 55

1890
spiritual mediums, apparitions. reaction- escapism. mystical. aura in back- christian iconogr halo? buddha halo? not meant relig. staff of power, or bishop?

Front 56

Vuillard, Woman Reading on a Bench

Back 56

1893-1903
rep of modern life, tempera? not glossy, doesnt lay well on campus. infl by tapestries- mural-like, reductive medium. flat- interesting texture.

Front 57

Seurat, The Eiffel Tower

Back 57

1889
symbol of modernity, not well received by parisians- ugly

Front 58

Bonnard, Nannie's Promenade

Back 58

1895-96
insp by sharpness of jap woodcut. ignore hierarchy and hierarchy of genres- litho and ptg. patterning, rep new motifs.

Front 59

Bonnard, Poster for la Revue Blanche

Back 59

1894
The Nabis work closely w/ theatre, stylistic elements- whimsical dec aspect. intellectual mag insterting orig prints.

Front 60

Vuillard, Mother and Sister of the Artist

Back 60

1893
lives w/ mother- dressmaker. feminine world, no sep btw public and private sphere. middle class surrounding, interior dec at time. no flat colors, heavily patterned wallpaper. panels- not all 1 unit anymore. sister- crouched, not fitting in room. reject sense of perspective, death.

Front 61

Serusier, The Talisman

Back 61

1888
on cigar box, more spiritual meaning. landscape of the mind.

Front 62

Vallotton, Felix Feneon a la Revue Blanche

Back 62

1896
only critic receptive of neo-impr.

Front 63

Bonnard, Femme au chien

Back 63

1891
artist's mother and sister.

Front 64

Gauguin, Self Portrait

Back 64

1889
ceramic mug. going beyond easel. int in ceramics, posters, decoration.

Front 65

Vuillard, Le Bois de Bologne

Back 65

1890
beneath the trees.

Front 66

Denis. The Muses

Back 66

1893. just 1 sinuous line. patterned carpet- like ground- outdoors. homage to cezanne, way its pted imp, not subject.

Front 67

Munch, The Scream

Back 67

1893
genderless, ageless, fleshless, avatar. imag composition. expressed a memory from Kristiania. walking down bridge, sun setting and sky turned red like blood. felt a scream pierce thru nature. transposiiton of all of nature, senses, world around him alive and palpable. sugg- munch had agrophobia? controlled thru images. splayed perspective.
rhythm of sky, clouds, water- localized image. social reading- E side of city working class. symbolic color, expressive, emotive value. sensation of insanity and loss.

Front 68

Munch, Madonna

Back 68

1895
usually represented in high art as a chaste, mature woman. usual golden halo of Mary has been replaced with a red halo symbolizing the love and pain duality. The viewers viewpoint is that of the man with her. Even in this unusual pose, she embodies some of the key elements of canonical representations of the Virgin: she has a quietness and a calm confidence about her. Her eyes are closed, expressing modesty, but she is simultaneously lit from above; her body is seen, in fact, twisting toward the light so as to catch more of it, even while she does not face it with her eyes

Front 69

Munch, Evening on Karl Johan

Back 69

1892
practices of Fr artists. collapsing exag perspectiv of street. stained blue sky, city as arena of death, destr crowds and contagion. social ills. (Ensor's christ- sickness of crowds)

Front 70

Munch, Self-Portrait with Burning Cigarette

Back 70

1895

Front 71

Munch, Love and Pain (vampire)

Back 71

1893-94
a sinister and macabre view on love. Presumably, the man in the picture represents Munch; the woman could be a representation of Juell, one of his unsuccessful loves. The relationship between these two figures is less clear. Has the man fallen victim to the woman’s vampirism? Or is he merely resting his head on the woman’s bosom, seeking comfort? Munch has deliberately made their relationship ambiguous. The original title of this painting, Love and Pain, suggests a relationship between falling in love and getting hurt. There is a tenderness and intimacy in this painting that is not entirely threatening, and yet the woman dominates the vulnerable man. Munch did not believe that there is an easy answer to love.

Front 72

Munch, Death in the Sick Room

Back 72

1895
5 children in his family, sister and mother died when child. intense losses

Front 73

Derain, Charing Cross Bridge

Back 73

1905
like monet's earlier version. goes to London to promote himself. adopts high persp and subj matter- monet's monochrom w/ blues, lyrical Impr of light, moment. Derain- use of complementary colors- explosive. red and gr, yellow and violet, etc. dynamic. patches of canvas show- flatten persp. nondescriptive color.

Front 74

Matisse, View of Collioure

Back 74

1906
red fields, pink mts. small village near Spanish border. physicality. use color to create sense of light and perspective

Front 75

Matisse, Woman with a Hat

Back 75

1905
shocked by fauvism. called ugliest smear ever seen. resisting new attitude to ptg, subversive. artists- means by which they make a mtg known. frankness of raw colors. phys of pt and surface of canvas. color dictating organization. revealing process of art, experim proj, not polished statement

Front 76

Matisse, Open Window

Back 76

1905
visual pun. Ren persp, creates illusion. view inside to outside, group of boats. through color-balanced, structured composition. reflections of glass- juxtaposes- wall colors. reverse. strong rect shapes. spontaneous- appears. relies on color to create form to dictate org. brushstroke techn- appears spontaneous. 3 stokes- squiggly lines, broad patches, lozenge shape

Front 77

Derain, Boats of Collioure

Back 77

1905
uses blue for sea, closer to physicality. more saturated colors. using color to recreate sense of light and persp. complementary colors. oranges- fore, blue- bckgd. angle- push pull to fore-bckgd.

Front 78

Kandinsky, First Abstract Watercolor.

Back 78

1913
sketch for composition no. 7. munich- leader of Blue Rider! (dev in Munich, simultaneously but diff to Die Brucke).
pure abstr0 about itself- syntax of line, color, form. each treated sep but equal. line and color equal. no fore or bckgd. no ref to phys reality, remove IDable obj. develops abstr language that translates material. concerns and points to spiritual world.

Front 79

Kokoshka, Herwarth Walden

Back 79

1910
vienna. turns to portraits. famous art dealer- supp German Expr, lures Kokosch to Berlin. captures psych effects of sitters- not about beauty but intellect, spiritual aspects. emph head and hands. ptg- dematerializes body, ethereal. jagged line- whiteness. attent to forehead- no specific time of place.

Front 80

Kirchner, Girl Under Umbrella

Back 80

1909. German Expressionism- communicating elementary ideas, renew society through art, recover German cultural heritage.
subj orientation geist (spirit), rej materialism. show a superficial affinity with the paintings of Henri Matisse and the Fauves in France. But the jagged outlines of Kirchner's forms and the wary expressions of the faces create a threatening mood that is absent in Fauvist works.H

Front 81

Heckel, Ball Players

Back 81

1911
moritzburg pond- where played w/ models, etc. fr avant garde and non western art- style. summering. woodcut. artist commune, anti-bourg. share property. rej academy, notion of 15 min sketch. movement of form. charged atmosphere. 13-15 yr old models.

Front 82

Kirchner, Portrait of Ludwig Schames

Back 82

1917
took care of K. woodcut. archaicizing. not perfect rectangle. knife- crude, 2-D quality, angularity, linearity. immediate impact. ppl misund printing as reproduc of ptg.
emerg artistic, creative powers.

Front 83

Kirchner, Potsdamer Platz

Back 83

1914
Die Brucke moves to berlin. very diff city life. depicting prostitutes. expr fascination and revulsion. overwhelming. nightscape. lime green contours- electrification.
mod urban life, angular, striated lines. trained in archit- highly stylized, unaccompanied. placed on pedestal, as if on display. woodcut ref to moon. blocked out. surrounded by men approaching. man-made, nothing natural. everything is commodity. perverted form of sexuality- urban life. ID w/ fem- larger forms. artists and prost live on margin of society. fancy hats- widow's veil. illegal in berlin.

Front 84

Kirchner, Bathers Throwing Reeds

Back 84

1909
rel btw work and wood sculpt? ecstasy of nude bathers. celebr human sexuality. meant to be shocking.

Front 85

Kirchner, Street Dresden

Back 85

1908
very diff to city life in Berlin. relies heavily on Munch's Karl Johann 1892. meant to be nightscapes. adds streetcar0 contemporizes. limegreen contours- electrification. rounded forms. 19c look of fashion.

Front 86

Rodin, The Thinker

Back 86

1880
Gates of hell-Dante- orig model for the Thinker. nude in style of michelangelo.

Front 87

Rodin, the Kiss

Back 87

1881-82
fem kissing back. sensual.
his approach to sculpting women was of homage to them and their bodies, not just submitting to men but as full partners in ardor. The consequent eroticism in the sculpture made it controversial. A bronze version of The Kiss (74 cm high) was sent for display at the 1893 World's Columbian Exposition in Chicago. The sculpture was considered unsuitable for general display

Front 88

Rodin, The Burghers of Calais

Back 88

fin 1895
story- lift seige if 6 citizens are sacrificed. comm by Calais 1885. thought orig too much emph on terror- not brave. keys to city of calais, each fig isolated. not shared death, existential drama. heavy drapery, pulled by gravity, huge ft. using distortion. rel to Guernica. reluctance, heaviness of emotion