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Array (data structure)
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Element identifier and addressing formulas
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Element identifier and addressing formulas
When data objects are stored in an array, individual objects are selected by an index that is usually a non-negative scalar integer. Indexes are also called subscripts. An index maps the array value to a stored object.
There are three ways in which the elements of an array can be indexed:
0 (zero-based indexing) The first element of the array is indexed by subscript of 0.
1 (one-based indexing) The first element of the array is indexed by subscript of 1.
n (n-based indexing) The base index of an array can be freely chosen. Usually programming languages allowing n-based indexing also allow negative index values and other scalar data types like enumerations, or characters may be used as an array index.
Using zero based indexing is the design choice of many influential programming languages, including C, Java and Lisp. This leads to simpler implementation where the subscript refers to an offset from the starting position of an array, so the first element has an offset of zero.
Arrays can have multiple dimensions, thus it is not uncommon to access an array using multiple indices. For example, a two-dimensional array A with three rows and four columns might provide access to the element at the 2nd row and 4th column by the expression A[1][3] in the case of a zero-based indexing system. Thus two indices are used for a two-dimensional array, three for a three-dimensional array, and n for an n-dimensional array.
The number of indices needed to specify an element is called the dimension, dimensionality, or rank of the array.
In standard arrays, each index is restricted to a certain range of consecutive integers (or consecutive values of some enumerated type), and the address of an element is computed by a "linear" formula on the indices.
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Array (data structure)
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One-dimensional arrays
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One-dimensional arrays
thumb|Diagram of a typical 1D array
A one-dimensional array (or single dimension array) is a type of linear array. Accessing its elements involves a single subscript which can either represent a row or column index.
As an example consider the C declaration int anArrayName[10]; which declares a one-dimensional array of ten integers. Here, the array can store ten elements of type int . This array has indices starting from zero through nine. For example, the expressions anArrayName[0] and anArrayName[9] are the first and last elements respectively.
For a vector with linear addressing, the element with index i is located at the address , where B is a fixed base address and c a fixed constant, sometimes called the address increment or stride.
If the valid element indices begin at 0, the constant B is simply the address of the first element of the array. For this reason, the C programming language specifies that array indices always begin at 0; and many programmers will call that element "zeroth" rather than "first".
However, one can choose the index of the first element by an appropriate choice of the base address B. For example, if the array has five elements, indexed 1 through 5, and the base address B is replaced by , then the indices of those same elements will be 31 to 35. If the numbering does not start at 0, the constant B may not be the address of any element.
thumb|Diagram of a typical 2D array
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Array (data structure)
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Multidimensional arrays
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Multidimensional arrays
thumb|Diagram of a typical 3D array
For a multidimensional array, the element with indices i,j would have address B + c · i + d · j, where the coefficients c and d are the row and column address increments, respectively.
More generally, in a k-dimensional array, the address of an element with indices i1, i2, ..., ik is
B + c1 · i1 + c2 · i2 + … + ck · ik.
For example: int a[2][3];
This means that array a has 2 rows and 3 columns, and the array is of integer type. Here we can store 6 elements they will be stored linearly but starting from first row linear then continuing with second row. The above array will be stored as a11, a12, a13, a21, a22, a23.
This formula requires only k multiplications and k additions, for any array that can fit in memory. Moreover, if any coefficient is a fixed power of 2, the multiplication can be replaced by bit shifting.
The coefficients ck must be chosen so that every valid index tuple maps to the address of a distinct element.
If the minimum legal value for every index is 0, then B is the address of the element whose indices are all zero. As in the one-dimensional case, the element indices may be changed by changing the base address B. Thus, if a two-dimensional array has rows and columns indexed from 1 to 10 and 1 to 20, respectively, then replacing B by will cause them to be renumbered from 0 through 9 and 4 through 23, respectively. Taking advantage of this feature, some languages (like FORTRAN 77) specify that array indices begin at 1, as in mathematical tradition while other languages (like Fortran 90, Pascal and Algol) let the user choose the minimum value for each index.
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Array (data structure)
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Dope vectors
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Dope vectors
The addressing formula is completely defined by the dimension d, the base address B, and the increments c1, c2, ..., ck. It is often useful to pack these parameters into a record called the array's descriptor, stride vector, or dope vector. The size of each element, and the minimum and maximum values allowed for each index may also be included in the dope vector. The dope vector is a complete handle for the array, and is a convenient way to pass arrays as arguments to procedures. Many useful array slicing operations (such as selecting a sub-array, swapping indices, or reversing the direction of the indices) can be performed very efficiently by manipulating the dope vector.
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Array (data structure)
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Compact layouts
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Compact layouts
Often the coefficients are chosen so that the elements occupy a contiguous area of memory. However, that is not necessary. Even if arrays are always created with contiguous elements, some array slicing operations may create non-contiguous sub-arrays from them.
thumb|upright|Illustration of row- and column-major order
There are two systematic compact layouts for a two-dimensional array. For example, consider the matrix
In the row-major order layout (adopted by C for statically declared arrays), the elements in each row are stored in consecutive positions and all of the elements of a row have a lower address than any of the elements of a consecutive row:
{| class="wikitable"
|-
| 1 || 2 || 3 || 4 || 5 || 6 || 7 || 8 || 9
|}
In column-major order (traditionally used by Fortran), the elements in each column are consecutive in memory and all of the elements of a column have a lower address than any of the elements of a consecutive column:
{| class="wikitable"
|-
| 1 || 4 || 7 || 2 || 5 || 8 || 3 || 6 || 9
|}
For arrays with three or more indices, "row major order" puts in consecutive positions any two elements whose index tuples differ only by one in the last index. "Column major order" is analogous with respect to the first index.
In systems which use processor cache or virtual memory, scanning an array is much faster if successive elements are stored in consecutive positions in memory, rather than sparsely scattered. This is known as spatial locality, which is a type of locality of reference. Many algorithms that use multidimensional arrays will scan them in a predictable order. A programmer (or a sophisticated compiler) may use this information to choose between row- or column-major layout for each array. For example, when computing the product A·B of two matrices, it would be best to have A stored in row-major order, and B in column-major order.
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Array (data structure)
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Resizing
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Resizing
Static arrays have a size that is fixed when they are created and consequently do not allow elements to be inserted or removed. However, by allocating a new array and copying the contents of the old array to it, it is possible to effectively implement a dynamic version of an array; see dynamic array. If this operation is done infrequently, insertions at the end of the array require only amortized constant time.
Some array data structures do not reallocate storage, but do store a count of the number of elements of the array in use, called the count or size. This effectively makes the array a dynamic array with a fixed maximum size or capacity; Pascal strings are examples of this.
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Array (data structure)
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Non-linear formulas
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Non-linear formulas
More complicated (non-linear) formulas are occasionally used. For a compact two-dimensional triangular array, for instance, the addressing formula is a polynomial of degree 2.
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Array (data structure)
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Efficiency
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Efficiency
Both store and select take (deterministic worst case) constant time. Arrays take linear (O(n)) space in the number of elements n that they hold.
In an array with element size k and on a machine with a cache line size of B bytes, iterating through an array of n elements requires the minimum of ceiling(nk/B) cache misses, because its elements occupy contiguous memory locations. This is roughly a factor of B/k better than the number of cache misses needed to access n elements at random memory locations. As a consequence, sequential iteration over an array is noticeably faster in practice than iteration over many other data structures, a property called locality of reference (this does not mean however, that using a perfect hash or trivial hash within the same (local) array, will not be even faster - and achievable in constant time). Libraries provide low-level optimized facilities for copying ranges of memory (such as memcpy) which can be used to move contiguous blocks of array elements significantly faster than can be achieved through individual element access. The speedup of such optimized routines varies by array element size, architecture, and implementation.
Memory-wise, arrays are compact data structures with no per-element overhead. There may be a per-array overhead (e.g., to store index bounds) but this is language-dependent. It can also happen that elements stored in an array require less memory than the same elements stored in individual variables, because several array elements can be stored in a single word; such arrays are often called packed arrays. An extreme (but commonly used) case is the bit array, where every bit represents a single element. A single octet can thus hold up to 256 different combinations of up to 8 different conditions, in the most compact form.
Array accesses with statically predictable access patterns are a major source of data parallelism.
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Array (data structure)
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Comparison with other data structures
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Comparison with other data structures
Dynamic arrays or growable arrays are similar to arrays but add the ability to insert and delete elements; adding and deleting at the end is particularly efficient. However, they reserve linear (Θ(n)) additional storage, whereas arrays do not reserve additional storage.
Associative arrays provide a mechanism for array-like functionality without huge storage overheads when the index values are sparse. For example, an array that contains values only at indexes 1 and 2 billion may benefit from using such a structure. Specialized associative arrays with integer keys include Patricia tries, Judy arrays, and van Emde Boas trees.
Balanced trees require O(log n) time for indexed access, but also permit inserting or deleting elements in O(log n) time, whereas growable arrays require linear (Θ(n)) time to insert or delete elements at an arbitrary position.
Linked lists allow constant time removal and insertion in the middle but take linear time for indexed access. Their memory use is typically worse than arrays, but is still linear.
120px|left|A two-dimensional array stored as a one-dimensional array of one-dimensional arrays (rows).
An Iliffe vector is an alternative to a multidimensional array structure. It uses a one-dimensional array of references to arrays of one dimension less. For two dimensions, in particular, this alternative structure would be a vector of pointers to vectors, one for each row(pointer on c or c++). Thus an element in row i and column j of an array A would be accessed by double indexing (A[i][j] in typical notation). This alternative structure allows jagged arrays, where each row may have a different size—or, in general, where the valid range of each index depends on the values of all preceding indices. It also saves one multiplication (by the column address increment) replacing it by a bit shift (to index the vector of row pointers) and one extra memory access (fetching the row address), which may be worthwhile in some architectures.
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Array (data structure)
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Dimension
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Dimension
The dimension of an array is the number of indices needed to select an element. Thus, if the array is seen as a function on a set of possible index combinations, it is the dimension of the space of which its domain is a discrete subset. Thus a one-dimensional array is a list of data, a two-dimensional array is a rectangle of data, a three-dimensional array a block of data, etc.
This should not be confused with the dimension of the set of all matrices with a given domain, that is, the number of elements in the array. For example, an array with 5 rows and 4 columns is two-dimensional, but such matrices form a 20-dimensional space. Similarly, a three-dimensional vector can be represented by a one-dimensional array of size three.
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Array (data structure)
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See also
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See also
Dynamic array
Parallel array
Variable-length array
Bit array
Array slicing
Offset (computer science)
Row- and column-major order
Stride of an array
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Array (data structure)
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References
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References
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Array (data structure)
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External links
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External links
*
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Array (data structure)
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Table of Content
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short description, History, Applications, Element identifier and addressing formulas, One-dimensional arrays, Multidimensional arrays, Dope vectors, Compact layouts, Resizing, Non-linear formulas, Efficiency, Comparison with other data structures, Dimension, See also, References, External links
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Advance Australia Fair
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short description
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"Advance Australia Fair" is the national anthem of Australia. Written by Scottish-born Australian composer Peter Dodds McCormick, the song was first performed as a patriotic song in Australia in 1878. It replaced "God Save the Queen" as the official national anthem by the Whitlam government in 1974, following an indicative opinion survey. The subsequent Fraser government reinstated "God Save the Queen" as the national anthem in January 1976 alongside three other "national songs": "Advance Australia Fair", "Waltzing Matilda" and "Song of Australia". Later in 1977 a plebiscite to choose the "national song" preferred "Advance Australia Fair". This was subsequently proclaimed the national anthem in 1984 by the Hawke government. "God Save the Queen" became the royal anthem (later "God Save the King" on the accession of King Charles III), and is used at public engagements attended by the King or members of the royal family.
The lyrics of the 1984 version of "Advance Australia Fair" were significantly modified from McCormick's original, only retaining a now gender neutral version of the first verse and using a second verse first sung in 1901 at Federation. In January 2021, the official lyrics were changed once again, in recognition of the long habitation of Indigenous Australians.
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Advance Australia Fair
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History
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History
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Advance Australia Fair
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Origin
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Origin
"Advance Australia Fair" was published in early December 1878 by Scottish-born Australian composer Peter Dodds McCormick (1833–1916) under the pen-name "Amicus" (which means in Latin). It was first sung by Andrew Fairfax, accompanied by a concert band conducted by McCormick, at a function of the Highland Society of New South Wales in Sydney on 30 November 1878 (Saint Andrew's Day). The song gained in popularity and an amended version was sung by a choir of around 10,000 at the inauguration of the Commonwealth of Australia on 1 January 1901. In 1907, the Australian Government awarded McCormick £100 for his composition.
In a letter to R.B. Fuller dated 1 August 1913, McCormick described the circumstances that inspired him to write "Advance Australia Fair" to be sung by a large choir with band accompaniment. McCormick had attended a concert at Sydney's Exhibition Building where various national anthems were played.
The earliest known sound recording of "Advance Australia Fair" appears in The Landing of the Australian Troops in Egypt (), a short commercial recording dramatizing the arrival of Australian troops in Egypt en route to Gallipoli.The Landing of the Australian Troops in Egypt from National Film and Sound Archive, at australianscreen online
Before its adoption as Australia's national anthem, "Advance Australia Fair" had considerable use elsewhere. For example, Australia's national broadcaster, the Australian Broadcasting Commission, used it to announce its radio news bulletins from 1942 to 1952. It was also frequently played at the start or end of official functions. Towards the end of World War II it was one of three songs played in certain picture theatres, along with "God Save the King" and the US national anthem, "The Star-Spangled Banner".
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Advance Australia Fair
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Adoption by the Whitlam government
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Adoption by the Whitlam government
thumb|405x405px|Current official music and pre-2021 lyrics
Following the collapse of British power and influence after World War II, Australia was forced to abandon its previous conception of itself as a loyal member of a wider global British community. The impetus for the creation of a new identity was described by Donald Horne as "new nationalism" in 1968. A Gallup poll indicated in 1972 that 72% of Australians now supported a new nationally distinct anthem, up from 38% in 1968.House of Representatives Hansard, 6 December 1973, pg 4380. The newly elected Whitlam government of 1972 made central the elevation of distinctively Australian symbols. In this vein, Prime Minister Gough Whitlam announced in his 1973 Australia Day address thatNational Australia Day Address, National Archives of Australia A3211, 1973/128 Part 1, ID 4799238, pg 3.
Whitlam also announced that a competition for a new anthem would be held by the Australian Council for the Arts with entrants accepted for both music and lyrics. However, despite around the 2500 entries received for lyrics and 1300 for music, the Council for the Arts could only produce a shortlist of 6 lyrics and no music, reduced from the 12 originally requested. The lyrics selected were "We'll Keep the Faith", "Advance, Australia", "Song of Australia" and three untitled verses. These were widely denounced by artists and the media, with A D Hope calling them "hopeless", James McAuley calling them "hopelessly bad" and The Australian describing the choices as "between the unbearable and the unforgivable". One of the judges David Williamson responded to the criticism stating "if you think these are bad, you should have seen the rest of the 2500 or so we rejected".
Many artists commentated on the difficulty of creating a national anthem in the 1970s, with Richard Meale stating that "we had missed the boat" and writer Bob Ellis stating that "You've got to leave out all the gum trees and wallabies, and you can't talk about defending the country against yellow hordes, so there's not much to talk about except an independent stance and belated pride in ourselves. Anything else would embarrass the audience." Ultimately, the government did not include any of the new entries in the final vote, with the poll only including "Advance Australia Fair", "Waltzing Matilda" and "The Song of Australia". This "indicative plebiscite" polled 60,000 people (0.05% of Australians at the time) nationally.
"Advance Australia Fair" was chosen by 51.4% of respondents and, on 9 April 1974, Whitlam announced in parliament that it was the national anthem, to be used on all occasions except those of a specifically regal nature. The choice came under attack almost immediately, with an editorial noting that "For Australians, the only consolation is that there will be very few occasions when the words are sung," and the Anglican Dean of Sydney commenting "This second-rate secular song is completely inappropriate for use in churches." Officials in four states said that Advance Australia Fair would not be played at official functions and that "God Save the Queen" would not be replaced, with Sir Harry Budd of New South Wales saying that the lyrics "are foolish and banal and their sentiments ridiculous".
During the 1975 election campaign following the dismissal of Whitlam by Sir John Kerr, David Combe proposed that the song be played at the start of the Labor Party's official campaign launch on 24 November 1975 at Festival Hall, Melbourne. Whitlam's speechwriter Graham Freudenberg rejected this idea because, among other reasons, the status of the anthem at that point was still tentative.Graham Freudenberg, "We've been sacked", The Sunday Age, 6 November 2005, p. 13
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Advance Australia Fair
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Reversion by the Fraser government
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Reversion by the Fraser government
On 22 January 1976 the Fraser government reinstated "God Save the Queen" as the national anthem for use at royal and vice-regal events, but otherwise provided a choice between "God Save the Queen", "Advance Australia Fair", "Song of Australia" or "Waltzing Matilda" for civilian functions. The choice of four different national anthems was mocked, with The Age declaring the new anthem as "God Save Australia's Fair Matilda". His government made plans to conduct a national poll to find a song for use on ceremonial occasions when it was desired to mark a separate Australian identity, whilst maintaining "God Save The Queen" as the national anthem. This was conducted as a plebiscite to choose the National Song, held as an optional additional question in the 1977 referendum on various issues. Despite both Fraser and Whitlam advocating a vote for "Waltzing Matilda", "Advance Australia Fair" was the winner with 43.29% of the vote, defeating the three alternatives, "Waltzing Matilda" (28.28%), "The Song of Australia" (9.65%) and the existing national anthem, "God Save the Queen" (18.78%).
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Advance Australia Fair
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Re-adoption by the Hawke government
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Re-adoption by the Hawke government
"Advance Australia Fair", with modified lyrics and reduced to two verses (see development of lyrics), was adopted as the Australian national anthem by the Labor government of Bob Hawke, coming into effect on 19 April 1984. (proclamation by Governor-General dated 19 April 1984) At the same time, "God Save the King/Queen" became known as the royal anthem, and continues to be played alongside the Australian national anthem at public engagements in Australia that are attended by the King or any other members of the Royal Family.
Even though any personal copyright of Peter Dodds McCormick's original lyrics has expired, as he died in 1916, the Commonwealth of Australia claims copyright on the official lyrics and particular arrangements of music. Non-commercial use of the anthem is permitted without case-by-case permission, but the Commonwealth government requires permission for commercial use. Undated.
The orchestral arrangement of "Advance Australia Fair" that is now regularly played for Australian victories at international sporting medal ceremonies, and at the openings of major domestic sporting, cultural and community events, is by Tommy Tycho, an immigrant from Hungary. It was commissioned by ABC Music in 1984 and then televised by Channel 10 in 1986 in their Australia Day broadcast, featuring Julie Anthony as the soloist.
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Advance Australia Fair
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Lyrics
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Lyrics
The lyrics of "Advance Australia Fair", as modified by the National Australia Day Council, were officially adopted in April 1984. The lyrics were updated on 1 January 2021 in an attempt to recognise the legacy of Indigenous Australians, with the word "one" in the second line replacing the previous "young". The lyrics are now as follows:
I
Australians all let us rejoice,
For we are one and free;
We've golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in Nature's gifts
Of beauty rich and rare;
In history's page, let every stage
Advance Australia fair!
In joyful strains then let us sing,
Advance Australia fair!
II
Beneath our radiant Southern Cross,
We'll toil with hearts and hands;
To make this Commonwealth of ours
Renowned of all the lands;
For those who've come across the seas
We've boundless plains to share;
With courage let us all combine
To advance Australia fair.
In joyful strains then let us sing
Advance Australia fair!
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Advance Australia Fair
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Development of lyrics
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Development of lyrics
Since the original lyrics were written in 1878, there have been several changes, in some cases with the intent of altering the anthem's political focus especially in regard to gender neutrality and Indigenous Australians. Some of these have been minor while others have significantly altered the song. The original song was four verses long. For its 1984 adoption as the national anthem, the song was cut from the four verses to two. The first verse was kept largely as the 1878 original, except for the change in the first line from " let us rejoice" to " let us rejoice". The second, third and fourth verses of the original were dropped, in favour of a modified version of the new third verse which was sung at Federation in 1901.
The lyrics published in the second edition (1879) were as follows:
I
Australia's sons let us rejoice,
For we are young and free;
We've golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in nature's gifts
Of beauty rich and rare;
In history's page, let every stage
Advance Australia fair.
In joyful strains let us sing,
Advance, Australia fair.
II
When gallant Cook from Albion sail'd,
To trace wide oceans o'er,
True British courage bore him on,
Til he landed on our shore.
Then here he raised Old England's flag,
The standard of the brave;
"With all her faults we love her still"
"Britannia rules the wave."
In joyful strains then let us sing,
Advance, Australia fair.
III
While other nations of the globe
Behold us from afar,
We'll rise to high renown and shine
Like our glorious southern star;
From England soil and Fatherland,
Scotia and Erin fair,
Let all combine with heart and hand
To advance Australia fair.
In joyful strains then let us sing
Advance, Australia fair.
IV
Should foreign foe e'er sight our coast,
Or dare a foot to land,
We'll rouse to arms like sires of yore,
To guard our native strand;
Britannia then shall surely know,
Though oceans roll between,
Her sons in fair Australia's land
Still keep their courage green.
In joyful strains then let us sing
Advance Australia fair.
The 1901 Federation version of the third verse was originally sung as:
III
Beneath our radiant Southern Cross,
We'll toil with hearts and hands;
To make our youthful Commonwealth,
Renowned of all the lands;
For loyal sons beyond the seas
We've boundless plains to share;
With courage let us all combine
To advance Australia fair.
In joyful strains then let us sing
Advance Australia fair!
The lyrics of "Advance Australia Fair", as modified by the National Australia Day Council and officially adopted on 19 April 1984, were as follows:
I
Australians all let us rejoice,
For we are young and free;
We've golden soil and wealth for toil;
Our home is girt by sea;
Our land abounds in nature's gifts
Of beauty rich and rare;
In history's page, let every stage
Advance Australia Fair.
In joyful strains then let us sing,
Advance Australia Fair.
II
Beneath our radiant Southern Cross
We'll toil with hearts and hands;
To make this Commonwealth of ours
Renowned of all the lands;
For those who've come across the seas
We've boundless plains to share;
With courage let us all combine
To Advance Australia Fair.
In joyful strains then let us sing,
Advance Australia Fair.
These lyrics were updated on 1 January 2021 to the current version, in which "young" in the second line is replaced with "one" to reflect the pre-colonial presence of Indigenous Australians, who have lived in Australia much longer than Europeans.
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Advance Australia Fair
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Criticism
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Criticism
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Advance Australia Fair
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General criticism
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General criticism
In May 1976, after reinstating "God Save the Queen", Fraser advised the Australian Olympic Federation to use "Waltzing Matilda" as the national anthem for the forthcoming Montreal Olympic Games. Fraser responded to criticism of "Waltzing Matilda" compared with "Advance Australia Fair", and countered, "in the second verse... we find these words, 'Britannia rules the waves'."
The fourth line of the anthem, "our home is girt by sea", has been criticised for using the so-called archaic word "girt". Additionally, the lyrics and melody of the Australian national anthem have been criticised in some quarters as being dull and unendearing to the Australian people. National Party senator Sandy Macdonald said in 2001 that "'Advance Australia Fair' is so boring that the nation risks singing itself to sleep, with boring music and words impossible to understand".
Craig Emerson of the Australian Labor Party has critiqued the anthem, and former MP Peter Slipper has said that Australia should consider another anthem. In 2011, former Victorian Premier Jeff Kennett called for "I Am Australian" to become Australia's national anthem, while former Australian Labor Party leader Kim Beazley defended it, stating: the current "National Anthem is not contradictory to an Australian republic".
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Advance Australia Fair
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Recognition of Indigenous Australians
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Recognition of Indigenous Australians
The song has been criticised for failing to represent or acknowledge Australia's Indigenous peoples and aspects of the country's colonial past, leading to modification. The lyrics have been accused of celebrating British colonisation and perpetuating the concept of terra nullius; the now-changed second line of the anthem ("for we are young and free") was criticised in particular for ignoring the long history of Indigenous Australians. It has also been suggested that the word "fair" celebrates the "civilising" mission of British colonists.
Since about 2015, public debate about the anthem has increased. Boxer Anthony Mundine stated in 2013, 2017 and 2018 that he would not stand for the anthem, prompting organisers not to play it before his fights. In September 2018 a 9-year-old Brisbane girl was disciplined by her school after refusing to stand for the national anthem; her actions were applauded by some public commenters, and criticised by others. In 2019, several National Rugby League football players decided not to sing the anthem before the first match of the State of Origin series and before the Indigenous All-Stars series with New Zealand; NRL coach and celebrated former player Mal Meninga supported the protesting players and called for a referendum on the subject.
Several alternative versions of "Advance Australia Fair" have been proposed to address the alleged exclusion of Indigenous Australians. Judith Durham of The Seekers and Mutti Mutti musician Kutcha Edwards released their alternative lyrics in 2009, replacing "for we are young and free" with the opening lines "Australians let us stand as one, upon this sacred land". In 2015, Aboriginal Australian soprano Deborah Cheetham declined an invitation to sing the anthem at the 2015 AFL grand final after the AFL turned down her request to replace the words "for we are young and free" with "in peace and harmony". She has advocated for the lyrics being rewritten and endorsed Durham and Edwards' alternative version.
In 2017 the Recognition in Anthem Project was established and began work on a new version, with lyrics written by poet and former Victorian Supreme Court judge Peter Vickery following consultation with Indigenous communities and others. Vickery's proposed lyrics replaced "we are young and free" with "we are one and free" in the first verse, deleted the second and added two new ones; the second verse acknowledging Indigenous history, immigration and calls for unity and respect, and the third adapting lines from the official second verse. It was debuted at the Desert Song Festival in Alice Springs by an Aboriginal choir. Former prime minister Bob Hawke endorsed Vickery's alternative lyrics in 2018. In 2017, the federal government under then prime minister Malcolm Turnbull granted permission for Vickery's lyrics to be sung at certain occasions as a "patriotic song", but said that before making any official change to the anthem, "The Government would need to be convinced of a sufficient groundswell of support in the wider community".
In November 2020, NSW Premier Gladys Berejiklian proposed changing one word in the opening couplet, from "we are young and free" to "we are one and free", to acknowledge Australia's Indigenous history. The proposal was supported by the federal Minister for Indigenous Australians, Ken Wyatt, and in December 2020 Prime Minister Scott Morrison announced that he would be advising the governor-general to proclaim the change, to take effect on 1 January 2021. The new wording was highlighted in the No case of the official referendum pamphlet of the Voice to Parliament referendum to support arguments against purported "divisive" constitutional changes.The Referendum Pamphlet. Published by the AEC on behalf of the No Campaign. From
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Advance Australia Fair
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Dharawal lyrics
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Dharawal lyrics
Lyrics for the anthem have been written twice in the Dharug language, an Australian Aboriginal language spoken around Sydney by the Dharawal people.
A first version was first performed in July 2010, at a Rugby League State of Origin match in Sydney, though there was some opposition:
In December 2020, another setting, in Dharug, followed by the anthem in English, was sung before a Rugby Union international between Australia and Argentina:
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Advance Australia Fair
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Other unofficial variants
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Other unofficial variants
In 2011, about fifty different Christian schools from different denominations came under criticism for singing an unofficial version of the song written by the Sri Lankan immigrant Ruth Ponniah in 1988. The song replaced the official second verse of "Advance Australia Fair" with lyrics that were Christian in nature.
Minister for School Education, Early Childhood and Youth Peter Garrett and chief executive of the National Australia Day Council Warren Pearson admonished the schools for modifying the lyrics of the anthem, and the Australian Parents Council and the Federation of Parents and Citizens' Association of NSW called for a ban on the modified song. Stephen O'Doherty, chief executive of Christian Schools Australia, defended the use of the lyrics in response.
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Advance Australia Fair
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References
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References
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Advance Australia Fair
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Notes
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Notes
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Advance Australia Fair
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External links
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External links
Lyrics on official government website
Streaming audio of Advance Australia Fair with links and information (archive link)
Australian Government websites:
Official published lyrics, music with band parts and sound recordings
Four-part musical score & lyrics PDF 169 KB
Australian National Anthem Audio for download (MP3 2.04 MB)
Department of Foreign Affair and Trade's webpage on Advance Australia Fair
Online scores held by Australian government libraries (The MusicAustralia collaboration)
Advance Australia Fair (Original Lyrics) – Australian singer Peter Dawson (c. 1930)
Category:Oceanian anthems
Category:National symbols of Australia
Category:Australian patriotic songs
Category:1878 songs
Category:National anthems
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Advance Australia Fair
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Table of Content
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short description, History, Origin, Adoption by the Whitlam government, Reversion by the Fraser government, Re-adoption by the Hawke government, Lyrics, Development of lyrics, Criticism, General criticism, Recognition of Indigenous Australians, Dharawal lyrics, Other unofficial variants, References, Notes, External links
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Automatic number announcement circuit
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short description
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An automatic number announcement circuit (ANAC) is a component of a central office of a telephone company that provides a service to installation and service technicians to determine the telephone number of a telephone line. The facility has a telephone number that may be called to listen to an automatic announcement that includes the caller's telephone number. The ANAC facility is useful primarily during the installation of landline telephones to quickly identify one of multiple wire pairs in a bundle or at a termination point.
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Automatic number announcement circuit
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Operation
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Operation
By connecting a test telephone set, a technician calls the local telephone number of the automatic number announcement service. This call is connected to equipment at the central office that uses automatic equipment to announce the telephone number of the line calling in. The main purpose of this system is to allow telephone company technicians to identify the telephone line they are connected to.
Automatic number announcement systems are based on automatic number identification. They are intended for use by phone company technicians, the ANAC system bypasses customer features, such as unlisted numbers, caller ID blocking, and outgoing call blocking. Installers of multi-line business services where outgoing calls from all lines display the company's main number on call display can use ANAC to identify a specific line in the system, even if CID displays every line as "line one".
Most ANAC systems are provider-specific in each wire center, while others are regional or state-/province- or area-code-wide. No official lists of ANAC numbers are published, as telephone companies guard against abuse that would interfere with availability for installers.
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Automatic number announcement circuit
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Exchange prefixes for testing
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Exchange prefixes for testing
The North American Numbering Plan reserves the exchange (central office) prefixes 958 and 959 for plant testing purposes. Code 959 with three or four additional digits is dedicated for access to office test lines in local exchange carrier and interoffice carrier central offices. The specifications define several test features for line conditions, such as quiet line and busy line, and test tones transmitted to callers. Telephone numbers are assigned for ring back to test the ringer when installing telephone sets, milliwatt tone (a number simply answers with a continuous test tone) and a loop around (which connects a call to another inbound call to the same or another test number).
ANAC services are typically installed in the 958 range, which is intended for communications between central offices. In some area codes, multiple additional prefixes may be reserved for test purposes. Many area codes reserved 999; 320 was also formerly reserved in Bell Canada territory.
Other carrier-specific North American test numbers include 555-XXXX numbers (such as 555–0311 on Rogers Communications in Canada) or vertical service codes, such as *99 on Cablevision/Optimum Voice in the United States. MCI Inc. (United States) provides ANI information by dialing 800-444-4444.
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Automatic number announcement circuit
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Telephone numbers
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Telephone numbers
Plant testing telephone numbers are carrier-specific, there is no comprehensive list of telephone numbers for ANAC services. In some communities, test numbers change relatively often. In others, a major incumbent carrier might assign a single number which provides test functions on its network across an entire numbering plan area, throughout an entire province or state, or system-wide.
Some telecommunication carriers maintain toll-free numbers for ANAC facilities. Some national toll-free numbers provide automatic number identification by speaking the telephone number of the caller, but these are not intended for use in identifying the customer's own phone number. They are used for the agent in a call center to confirm the telephone a customer is calling from, so that the customer's account information can be displayed as a "screen pop" for the next available customer service representative.
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Automatic number announcement circuit
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See also
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See also
Plant test number
Ringback number
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Automatic number announcement circuit
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References
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References
Category:Telephone numbers
Category:Telephony signals
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Automatic number announcement circuit
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Table of Content
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short description, Operation, Exchange prefixes for testing, Telephone numbers, See also, References
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Amerigo Vespucci
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Short description
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Amerigo Vespucci ( , ; 9 March 1454 – 22 February 1512) was an Italian explorer and navigator from the Republic of Florence for whom "America" is named.
Vespucci participated in at least two voyages of the Age of Discovery between 1497 and 1504, first on behalf of Spain (14991500) and then for Portugal (15011502). In 1503 and 1505, two booklets were published under his name containing colourful descriptions of these explorations and other voyages. Both publications were extremely popular and widely read throughout much of Europe. Historians still dispute the authorship and veracity of these accounts, but they were instrumental in raising awareness of the discoveries and enhancing the reputation of Vespucci as an explorer and navigator.
Vespucci claimed to have understood in 1501 that Brazil was part of a fourth continent unknown to Europeans, which he called the "New World". The claim inspired cartographer Martin Waldseemüller to recognize Vespucci's accomplishments in 1507 by applying the Latinized form "America" to a map showing the New World. Other cartographers followed suit, securing the tradition of marking the name "America" on maps of the newly discovered continents.
It is unknown whether Vespucci was ever aware of these honours. In 1505, he was made a subject of Castile by royal decree, and he was appointed to the position of piloto mayor (master navigator) for Spain's Casa de Contratación (House of Trade) in Seville in 1508, a post which he held until his death in 1512.
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Amerigo Vespucci
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Biography
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Biography
thumb|Montefioralle, a frazione of the comune of Greve in Chianti, Italy. Montefioralle was the home of the Vespucci family.
thumb|Vespucci's birthplace in Peretola, Florence, Italy
Vespucci was born on 9 March 1454 in Florence, a wealthy Italian city-state and a center of Renaissance art and learning, in the suburb of Peretola.
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Amerigo Vespucci
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Family and education
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Family and education
thumb|left|upright=.5|Coats of arms of the House of Vespucci
thumb|upright=.6|Portrait of a young member of the Vespucci family, identified as Amerigo by Giorgio Vasari
Amerigo Vespucci was the third son of Nastagio Vespucci, a Florentine notary for the Money-Changers Guild, and Lisa di Giovanni Mini. The family resided in the District of Santa Lucia d'Ognissanti along with other families of the Vespucci clan. Earlier generations of Vespucci had funded a family chapel in the Ognissanti church, and the nearby Hospital of San Giovanni di Dio was founded by Simone di Piero Vespucci in 1380. Vespucci's immediate family was not especially prosperous but they were politically well-connected. Amerigo's grandfather, also named Amerigo Vespucci, served a total of 36 years as the chancellor of the Florentine government, known as the Signoria; and Nastagio also served in the Signoria and in other guild offices. More importantly, the Vespuccis had good relations with Lorenzo de' Medici, the powerful de facto ruler of Florence.
Amerigo's two older brothers, Antonio and Girolamo, were sent to the University of Pisa for their education; Antonio followed his father to become a notary, while Girolamo entered the Church and joined the Knights Hospitaller in Rhodes. Amerigo's career path seemed less certain; instead of following his brothers to the university, he remained in Florence and was tutored by his uncle, Giorgio Antonio Vespucci, a Dominican friar in the monastery of San Marco. Fortunately for Amerigo, his uncle was one of the most celebrated humanist scholars in Florence at the time and provided him with a broad education in literature, philosophy, rhetoric, and Latin. He was also introduced to geography and astronomy, subjects that played an essential part in his career. Amerigo's later writings demonstrated a familiarity with the work of the classic Greek cosmographers, Ptolemy and Strabo, and the more recent work of Florentine astronomer Paolo dal Pozzo Toscanelli.
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Amerigo Vespucci
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Early career
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Early career
In 1478, Guido Antonio Vespucci, Amerigo's other uncle, led a Florentine diplomatic mission to Paris and invited his younger cousin, Amerigo Vespucci, to join him. Amerigo's role is not clear, but it was likely as an attache or private secretary. Along the way they had business in Bologna, Milan, and Lyon. Their objective in Paris was to obtain French support for Florence's war with Naples. Louis XI was noncommittal and the diplomatic mission returned to Florence in 1481 with little to show for their efforts.
After his return from Paris, Amerigo worked for a time with his father and continued his studies in science. In 1482, when his father died, Amerigo went to work for Lorenzo di Pierfrancesco de' Medici, head of a junior branch of the Medici family. Although Amerigo was twelve years older, they had been schoolmates under the tutelage of Giorgio Antonio Vespucci. Amerigo served first as a household manager and then gradually took on increasing responsibilities, handling various business dealings for the family both at home and abroad. Meanwhile, he continued to show an interest in geography, at one point buying an expensive map made by the master cartographer Gabriel de Vallseca.
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Amerigo Vespucci
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Seville
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Seville
In 1488, Lorenzo di Pierfrancesco became dissatisfied with his Seville business agent, Tomasso Capponi. He dispatched Vespucci to investigate the situation and provide an assessment of a suggested replacement, Florentine merchant Gianotto Berardi. Vespucci's findings have been lost but Capponi returned to Florence around this time and Berardi took over the Medici business in Seville. In addition to managing Medici's trade in Seville, Berardi had his own business in African slavery and ship chandlery.
By 1492, Vespucci had settled permanently in Seville. His motivations for leaving Florence are unclear; he continued to transact some business on behalf of his Medici patrons but more and more he became involved with Berardi's other activities, most notably his support of Christopher Columbus's voyages. Berardi invested half a million maravedis in Columbus's first voyage, and he won a potentially lucrative contract to provision Columbus's large second fleet. However, profits proved to be elusive. In 1495, Berardi signed a contract with the crown to send 12 resupply ships to Hispaniola but then died unexpectedly in December without completing the terms of the contract.
Vespucci was the executor of Berardi's will, collecting debts and paying outstanding obligations for the firm. Afterwards he was left owing 140,000 maravedis. He continued to provision ships bound for the West Indies, but his opportunities were diminishing; Columbus's expeditions were not providing the hoped-for profits, and his patron, Lorenzo di Pierfrancesco Medici, was using other Florentine agents for his business in Seville.
Sometime after he settled in Seville, Vespucci married a Spanish woman, Maria Cerezo. Very little is known about her; Vespucci's will refers to her as the daughter of celebrated military leader Gonzalo Fernández de Córdoba. Historian Fernández-Armesto speculates that she may have been Gonzalo's illegitimate offspring and a connection that would have been very useful to Vespucci. She was an active participant in his business and held power of attorney for Vespucci when he was away.
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Amerigo Vespucci
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Voyages and alleged voyages
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Voyages and alleged voyages
thumb|alt=Vespucci meets nude Native Americans|Depiction of Vespucci's first encounter with Native Americans, alleged to have occurred in 1497 (De Bry engraving, )
The evidence for Vespucci's voyages of exploration consists almost entirely of a handful of letters written by him or attributed to him. Historians have differed sharply on the authorship, accuracy and veracity of these documents. Consequently, opinions also vary widely regarding the number of voyages undertaken, their routes, and Vespucci's roles and accomplishments. Starting in the late 1490s Vespucci participated in two voyages to the New World that are relatively well-documented in the historical record. Two others have been alleged but the evidence is more problematic. Traditionally, Vespucci's voyages are referred to as the "first" through "fourth", even by historians who dismiss one or more of the trips.
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Amerigo Vespucci
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Alleged voyage of 1497{{ndash}}1498
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Alleged voyage of 14971498
A letter, addressed to Florentine official Piero Soderini, dated 1504 and published the following year, purports to be an account by Vespucci of a voyage to the New World, departing from Spain on 10 May 1497, and returning on 15 October 1498. This is perhaps the most controversial of Vespucci's voyages, as this letter is the only known record of its occurrence, and many historians doubt that it took place as described. Some question the authorship and accuracy of the letter and consider it to be a forgery. Others point to the inconsistencies in the narrative of the voyage, particularly the alleged course, starting near Honduras and proceeding northwest for 870 leagues (about )—a course that would have taken them across Mexico to the Pacific Ocean.
Certain earlier historians, including contemporary Bartolomé de las Casas, suspected that Vespucci incorporated observations from a later voyage into a fictitious account of this supposed first one, so as to gain primacy over Columbus and position himself as the first European explorer to encounter the mainland. Others, including scholar Alberto Magnaghi, have suggested that the Soderini letter was not written by Vespucci at all, but rather by an unknown author who had access to the navigator's private letters to Lorenzo de' Medici about his 1499 and 1501 expeditions to the Americas, which make no mention of a 1497 voyage. The Soderini letter is one of two attributed to Vespucci that were edited and widely circulated during his lifetime.
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Amerigo Vespucci
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Voyage of 1499{{ndash}}1500
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Voyage of 14991500
thumb|left|Vespucci's second voyage depicted in the first known edition of his letter to Piero Soderini, published by Pietro Pacini in Florence
In 1499, Vespucci joined an expedition licensed by Spain and led by Alonso de Ojeda as fleet commander and Juan de la Cosa as chief navigator. Their intention was to explore the coast of a new landmass found by Columbus on his third voyage and in particular investigate a rich source of pearls that Columbus had reported. Vespucci and his backers financed two of the four ships in the small fleet. His role on the voyage is not clear. Writing later about his experience, Vespucci gave the impression that he had a leadership role, but that is unlikely, due to his inexperience. Instead, he may have served as a commercial representative on behalf of the fleet's investors. Years later, Ojeda recalled that "Morigo Vespuche" was one of his pilots on the expedition.
The vessels left Spain on 18 May 1499 and stopped first in the Canary Islands before reaching South America somewhere near present-day Suriname or French Guiana. From there the fleet split up: Ojeda proceeded northwest toward modern Venezuela with two ships, while the other pair headed south with Vespucci aboard. The only record of the southbound journey comes from Vespucci himself. He assumed they were on the coast of Asia and hoped by heading south they would, according to the Greek geographer Ptolemy, round the unidentified "Cape of Cattigara" and reach the Indian Ocean. They passed two huge rivers (the Amazon and the Para) which poured freshwater out to sea. They continued south for another 40 leagues (about ) before encountering a very strong adverse current which they could not overcome. Forced to turn around, the ships headed north, retracing their course to the original landfall. From there Vespucci continued up the South American coast to the Gulf of Paria and along the shore of what is now Venezuela. At some point they may have rejoined Ojeda but the evidence is unclear. In the late summer, they decided to head north for the Spanish colony at Hispaniola in the West Indies to resupply and repair their ships before heading home. After Hispaniola they made a brief slave raid in the Bahamas, capturing 232 Lucayans, and then returned to Spain.
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Amerigo Vespucci
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Voyage of 1501{{ndash}}1502
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Voyage of 15011502
thumb|alt=Natives cutting up a person, with body parts hanging|First known depiction of cannibalism in the New World. Engraving by Johann Froschauer for an edition of Vespucci's Mundus Novus published in Augsburg in 1505
In 1501, Manuel I of Portugal commissioned an expedition to investigate a landmass far to the west in the Atlantic Ocean encountered unexpectedly by a wayward Pedro Álvares Cabral on his voyage around Africa to India. That land would eventually become present-day Brazil. The king wanted to know the extent of this new discovery and determine where it lay in relation to the line established by the Treaty of Tordesillas. Any land that lay to the east of the line could be claimed by Portugal. Vespucci's reputation as an explorer and presumed navigator had already reached Portugal, and he was hired by the king to serve as pilot under the command of Gonçalo Coelho.
Coelho's fleet of three ships left Lisbon in May 1501. Before crossing the Atlantic they resupplied at Cape Verde, where they encountered Cabral on his way home from his voyage to India. This was the same expedition that had found Brazil on its outward-bound journey the previous year. Coelho left Cape Verde in June, and from this point Vespucci's account is the only surviving record of their explorations. On 17 August 1501 the expedition reached Brazil at a latitude of about 6° south. Upon landing it encountered a hostile band of natives who killed and ate one of its crewmen. Sailing south along the coast they found friendlier natives and were able to engage in some minor trading. At 23° S they found a bay which they named Rio de Janeiro because it was 1 January 1502. On 13 February 1502, they left the coast to return home. Vespucci estimated their latitude at 32° S but experts now estimate they were closer to 25° S. Their homeward journey is unclear since Vespucci left a confusing record of astronomical observations and distances travelled.
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Amerigo Vespucci
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Alleged voyage of 1503{{ndash}}1504
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Alleged voyage of 15031504
In 1503, Vespucci may have participated in a second expedition for the Portuguese crown, again exploring the east coast of Brazil. There is evidence that a voyage was led by Coelho at about this time but no independent confirmation that Vespucci took part. The only source for this last voyage is the Soderini letter; but several modern scholars dispute Vespucci's authorship of that letter and it is uncertain whether Vespucci undertook this trip. There are also difficulties with the reported dates and details in the account of this voyage.
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Amerigo Vespucci
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Return to Seville
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Return to Seville
thumb|Tomb of the Vespucci family in Ognissanti, Florence
By early 1505, Vespucci was back in Seville. His reputation as an explorer and navigator continued to grow and his recent service in Portugal did not seem to damage his standing with King Ferdinand. On the contrary, the king was likely interested in learning about the possibility of a western passage to India. In February, he was summoned by the king to consult on matters of navigation. During the next few months he received payments from the crown for his services and in April he was declared by royal proclamation a citizen of Castile and León.
From 1505 until his death in 1512, Vespucci remained in service to the Spanish crown. He continued his work as a chandler, supplying ships bound for the Indies. He was also hired to captain a ship as part of a fleet bound for the "spice islands" but the planned voyage never took place. In March 1508, he was named chief pilot for the Casa de Contratación or House of Commerce which served as a central trading house for Spain's overseas possessions. He was paid an annual salary of 50,000 maravedis with an extra 25,000 for expenses. In his new role, Vespucci was responsible for ensuring that ships' pilots were adequately trained and licensed before sailing to the New World. He was also charged with compiling a "model map", the Padrón Real, based on input from pilots who were obligated to share what they learned after each voyage.
Vespucci wrote his will in April 1511. He left most of his modest estate, including five household slaves, to his wife. His clothes, books, and navigational equipment were left to his nephew Giovanni Vespucci. He requested to be buried in a Franciscan habit in his wife's family tomb. Vespucci died on 22 February 1512.
Upon his death, Vespucci's wife was awarded an annual pension of 10,000 maravedis to be deducted from the salary of the successor chief pilot. His nephew Giovanni was hired into the Casa de Contratación where he spent his subsequent years spying on behalf of the Florentine state.
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Amerigo Vespucci
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Naming of America
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Naming of America
thumb|Allegory of the New World by Stradanus, depicting Vespucci that awakens the sleeping America
Vespucci's voyages became widely known in Europe after two accounts attributed to him were published between 1503 and 1505. The Soderini letter (1505) came to the attention of a group of humanist scholars studying geography in Saint-Dié, a small French town in the Duchy of Lorraine. Led by Walter Lud, the academy included Matthias Ringmann and Martin Waldseemüller. In 1506, they obtained a French translation of the Soderini letter as well as a Portuguese maritime map that detailed the coast of lands recently discovered in the western Atlantic. They surmised that this was the "new world" or the "antipodes" hypothesized by classical writers. The Soderini letter gave Vespucci credit for discovery of this new continent and implied that the Portuguese map was based on his explorations.
In April 1507, Ringmann and Waldseemüller published their Introduction to Cosmography with an accompanying world map. The Introduction was written in Latin and included a Latin translation of the Soderini letter. In a preface to the Letter, Ringmann wrote
A thousand copies of the world map were printed with the title Universal Geography According to the Tradition of Ptolemy and the Contributions of Amerigo Vespucci and Others. It was decorated with prominent portraits of Ptolemy and Vespucci and, for the first time, the name America was applied to a map of the New World.
The Introduction and map were a great success and four editions were printed in the first year alone. The map was widely used in universities and was influential among cartographers who admired the craftsmanship that went into its creation. In the following years, other maps were printed that often incorporated the name America. In 1538, Gerardus Mercator used America to name both the North and South continents on his influential map. By this point the tradition of marking the name "America" on maps of the New World was secure.
In 1513 Waldseemüller published a new map with the New World labelled "Terra Incognita" instead of "America", and the accompanying text names Columbus as discoverer. Many supporters of Columbus felt that Vespucci had stolen an honour that rightfully belonged to Columbus. Most historians now believe that Vespucci was unaware of Waldseemüller's map before his death in 1512 and many assert that he was not even the author of the Soderini letter.
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Amerigo Vespucci
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Vespucci letters
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Vespucci letters
thumb|Woodcut depicting Vespucci's first voyage to the New World, from the first known published edition of his 1504 letter to Piero Soderini
thumb|Vespucci finding the Crux constellation with an astrolabe during his 1499 voyage, event described in his Letter to Lorenzo di Pierfrancesco de' Medici. Print includes Vespucci's own allusion to a relevant passage in Dante's Purgatorio.
Knowledge of Vespucci's voyages relies almost entirely on a handful of letters written by him or attributed to him. Two of these letters were published during his lifetime and received widespread attention throughout Europe. Several scholars now believe that Vespucci did not write the two published letters in the form in which they circulated during his lifetime. They suggest that they were fabrications based in part on genuine Vespucci letters.
Mundus Novus (1503) was a letter written to Vespucci's former schoolmate and one-time patron, Lorenzo di Pierfrancesco de' Medici. Originally published in Latin, the letter described his voyage to Brazil in 15011502 serving under the Portuguese flag. The document proved to be extremely popular throughout Europe. Within a year of publication, twelve editions were printed including translations into Italian, French, German, Dutch and other languages. By 1550, at least 50 editions had been issued.
Letter to Soderini (1505) was a letter ostensibly intended for Piero di Tommaso Soderini, the leader of the Florentine Republic. It was written in Italian and published in Florence around 1505. It is more sensational in tone than the other letters and the only one to assert that Vespucci made four voyages of exploration. The authorship and the veracity of the letter have been widely questioned by modern historians. Nevertheless, this document was the original inspiration for naming the American continent in honour of Amerigo Vespucci.
The remaining documents were unpublished manuscripts; handwritten letters uncovered by researchers more than 250 years after Vespucci's death. After years of controversy, the authenticity of the three complete letters was convincingly demonstrated by Alberto Magnaghi in 1924. Most historians now accept them as the work of Vespucci but aspects of the accounts are still disputed.
Letter from Seville (1500) describes a voyage made in 14991500 while in the service of Spain. It was first published in 1745 by Angelo Maria Bandini.
Letter from Cape Verde (1501) was written in Cape Verde at the outset of a voyage undertaken for Portugal in 15011502. It was first published by Count Baldelli Boni in 1807. It describes the first leg of the journey from Lisbon to Cape Verde and provides details about Pedro Cabral's voyage to India which were obtained when the two fleets met by chance while anchored in the harbour at Cape Verde.
Letter from Lisbon (1502) is essentially a continuation of the letter started in Cape Verde. It describes the remainder of a voyage made on behalf of Portugal in 15011502. The letter was first published by Francesco Bartolozzi in 1789.
Ridolfi Fragment (1502) is part of a letter attributed to Vespucci but some of its assertions remain controversial. It was first published in 1937 by Roberto Ridolfi. The letter appears to be an argumentative response to questions or objections raised by the unknown recipient. A reference is made to three voyages made by Vespucci, two on behalf of Spain and one for Portugal.
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Amerigo Vespucci
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Historiography
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Historiography
thumb|upright|left|Portrait engraving of Vespucci by Crispijn van de Passe, which titles him "discoverer and conqueror of Brazilian land"
Vespucci has been called "the most enigmatic and controversial figure in early American history". The debate has become known among historians as the "Vespucci question". How many voyages did he make? What was his role on the voyages and what did he learn? The evidence relies almost entirely on a handful of letters attributed to him. Many historians have analysed these documents and have arrived at contradictory conclusions.
In 1515, Sebastian Cabot became one of the first to question Vespucci's accomplishments and express doubts about his 1497 voyage. Later, Bartolomé de las Casas argued that Vespucci was a liar and stole the credit that was due Columbus. By 1600, most regarded Vespucci as an impostor and not worthy of his honours and fame. In 1839, Alexander von Humboldt after careful consideration asserted the 1497 voyage was impossible but accepted the two Portuguese-sponsored voyages. Humboldt also called into question the assertion that Vespucci recognized that he had encountered a new continent. According to Humboldt, Vespucci (and Columbus) died in the belief that they had reached the eastern edge of Asia. Vespucci's reputation was perhaps at its lowest in 1856 when Ralph Waldo Emerson called Vespucci a "thief" and "pickle dealer" from Seville who managed to get "half the world baptized with his dishonest name".
thumb|upright=0.7|alt=Statue in a niche|Statue of Vespucci outside the Uffizi in Florence, Italy
Opinions began to shift somewhat after 1857 when Brazilian historian Francisco Adolfo de Varnhagen wrote that everything in the Soderini letter was true. Other historians followed in support of Vespucci including John Fiske and Henry Harrisse.
In 1924, Alberto Magnaghi published the results of his exhaustive review of Vespucci's writings and relevant cartography. He denied Vespucci's authorship of the 1503 Mundus Novus and the 1505 Letter to Soderini, the only two texts published during his lifetime. He suggested that the Soderini letter was not written by Vespucci, but was cobbled together by unscrupulous Florentine publishers who combined several accounts – some from Vespucci, others from elsewhere. Magnaghi determined that the manuscript letters were authentic and based on them he was the first to propose that only the second and third voyages were true, and the first and fourth voyages (only found in the Soderini letter) were fabrications. While Magnaghi has been one of the chief proponents of a two-voyage narrative, Roberto Levellier was an influential Argentinian historian who endorsed the authenticity of all Vespucci's letters and proposed the most extensive itinerary for his four voyages.
Other modern historians and popular writers have taken varying positions on Vespucci's letters and voyages, espousing two, three, or four voyages and supporting or denying the authenticity of his two printed letters. Most authors believe that the three manuscript letters are authentic while the first voyage as described in the Soderini letter draws the most criticism and disbelief.
A two-voyage thesis was accepted and popularized by Frederick J. Pohl (1944), and rejected by Germán Arciniegas (1955), who posited that all four voyages were truthful. Luciano Formisiano (1992) also rejects the Magnaghi thesis (acknowledging that publishers probably tampered with Vespucci's writings) and declares all four voyages genuine, but differs from Arciniegas in details (particularly the first voyage). Samuel Morison (1974) flatly rejected the first voyage but was noncommittal about the two published letters. Felipe Fernández-Armesto (2007) calls the authenticity question "inconclusive" and hypothesizes that the first voyage was probably another version of the second; the third is unassailable, and the fourth is probably true.
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Amerigo Vespucci
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Legacy
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Legacy
thumb|Amerigo Vespucci monument at El Chicó, Colombia
Vespucci's historical importance may rest more with his letters (whether or not he wrote them all) than his discoveries. Burckhardt cites the naming of America after him as an example of the immense role of the Italian literature of the time in determining historical memory. Within a few years of the publication of his two letters, the European public became aware of the newly discovered continents of the Americas. According to Vespucci:
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Amerigo Vespucci
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Notes
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Notes
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Amerigo Vespucci
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References
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References
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Amerigo Vespucci
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Bibliography
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Bibliography
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Amerigo Vespucci
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External links
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External links
Canaday, James A. "The Life of Amerigo Vespucci"
Vespucci, Amerigo. "Account of His First Voyage 1497 (Letter to Pier Soderini, Gonfalonier of the Republic of Florence)". Internet Modern History Sourcebook-Fordham University (U.S.)
Mason, Wyatt, 'I am America. (And So?)' The New York Times, 12 December 2007.
Martin Waldseemüller, Franz Wieser (Ritter von), Edward Burke (trans), The Cosmographiæ Introductio of Martin Waldseemüller in facsimile: followed by the Four voyages of Amerigo Vespucci, The United States Catholic Historical Society, 1908.
1507 Waldseemüller Map from the US Library of Congress
TOPS Lecture at Library of Congress, Drs. France and Easton
World Digital Library presentation of the 1507 Waldseemüller Map in the Library of Congress. This is the only known surviving copy of the wall map edition of which it is believed 1,000 copies were printed. Four originals of the 1507 globe gore map are in existence in Germany, UK and US.
Online Galleries, History of Science Collections, University of Oklahoma Libraries High resolution images of works by and/or portraits of Amerigo Vespucci in .jpg and .tiff format.
Soderini Letters in Giovanni Battista Ramusio, Primo Volume delle Nauigationi et Viaggi , Venetia, 1550, fol. 138–140.
Category:1454 births
Category:1512 deaths
Category:15th-century Italian businesspeople
Category:15th-century people from the Republic of Florence
Category:16th-century Italian explorers
Category:16th-century Italian businesspeople
Category:16th-century Italian cartographers
Category:Businesspeople from Florence
Category:Cartographers of North America
Category:Italian explorers of South America
Category:Italian navigators
Category:Italian Roman Catholics
Category:Italian slave owners
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Amerigo Vespucci
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Table of Content
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Short description, Biography, Family and education, Early career, Seville, Voyages and alleged voyages, Alleged voyage of 1497{{ndash}}1498, Voyage of 1499{{ndash}}1500, Voyage of 1501{{ndash}}1502, Alleged voyage of 1503{{ndash}}1504, Return to Seville, Naming of America, Vespucci letters, Historiography, Legacy, Notes, References, Bibliography, External links
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Aristide Maillol
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Short description
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Aristide Joseph Bonaventure Maillol (; December 8, 1861 – September 27, 1944) was a French sculptor, painter, and printmaker.Le Normand-Romain, Antoinette . "Maillol, Aristide". Grove Art Online. Oxford Art Online. Oxford University Press. Web.
He began his career as a painter and developed an early interest in the decorative arts. He became primarily interested in sculpture from his early 40s. Maillol was one of the most famous sculptors of his time. His work inspired artists such as Picasso, Henri Matisse and Henry Moore.
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Aristide Maillol
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Biography
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Biography
thumb|left|200px|Maillol, Bas Relief, terracotta. Exhibited at the 1913 Armory Show, New York, Chicago, Boston. Catalogue image (no. 110)
Maillol was born in Banyuls-sur-Mer, Roussillon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications and several years of living in poverty, his enrollment in the École des Beaux-Arts was accepted in 1885, and he studied there under Jean-Léon Gérôme and Alexandre Cabanel.Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910–1930. London: Tate Gallery. p. 148. His early paintings show the influence of his contemporaries Pierre Puvis de Chavannes and Paul Gauguin.
Gauguin encouraged his growing interest in decorative art, an interest that led Maillol to take up tapestry design. In 1893 Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and aesthetic quality gained him recognition for renewing this art form in France. He began making small terracotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry.
alt=|thumb|Maillol, The River, bronze, 1938–1943, at the Tuileries Garden in Paris
In July 1896, Maillol married Clotilde Narcis, one of his employees at his tapestry workshop. Their only son, Lucian, was born that October.
Maillol's first major sculpture, A Seated Woman, was modeled after his wife. The first version (in the Museum of Modern Art, New York) was completed in 1902, and renamed La Méditerranée. Maillol, believing that "art does not lie in the copying of nature", produced a second, less naturalistic version in 1905. In 1902, the art dealer Ambroise Vollard provided Maillol with his first exhibition.
thumb|left|300px| Air cast 1938, Kröller-Müller Museum
The subject of nearly all of Maillol's mature work is the female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II.
Josep Pla said of Maillol, "These archaic ideas, Greek, were the great novelty Maillol brought into the tendency of modern sculpture. What you need to love from the ancients is not the antiquity, it is the sense of permanent, renewed novelty, that is due to the nature and reason.""Arístides Maillol, escultor", Homenots, 3a sèrie. OC XXI, 19. "Dues mirades a Maillol. Josep Pla i Torres Monsó", Fundació Josep Pla, retrieved May 31, 2013.
His important public commissions include a 1912 commission for a monument to Cézanne, as well as numerous war memorials commissioned after World War I.
Maillol served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal (1919–1954) a grant awarded to painters, sculptors, decorators, engravers, writers, and musicians.
He made a series of woodcut illustrations for an edition of Vergil's Eclogues published by Harry Graf Kessler in 1926–27. He also illustrated Daphnis and Chloe by Longus (1937) and Chansons pour elle by Paul Verlaine (1939)."Aristide Maillol", Oxford Art Online
He died in Banyuls at the age of eighty-two, in an automobile accident. While driving home during a thunderstorm, the car in which he was a passenger skidded off the road and rolled over. A large collection of Maillol's work is maintained at the Musée Maillol in Paris, which was established by Dina Vierny, Maillol's model and platonic companion during the last 10 years of his life. His home a few kilometers outside Banyuls, also the site of his final resting place, has been turned into a museum, the Musée Maillol Banyuls-sur-Mer, where a number of his works and sketches are displayed.
Three of his bronzes grace the grand staircase of the Metropolitan Opera House in New York City: Summer (1910–11), Venus Without Arms (1920), and Kneeling Woman: Monument to Debussy (1950–55). The third, the artist's only reference to music, is a copy of an original created for the French city of Saint-Germain-en-Laye, Claude Debussy's birthplace.
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Aristide Maillol
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Nazi-looted art
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Nazi-looted art
During the German occupation of France, dozens of artworks by Maillol were seized by the Nazi looting organization known as the E.R.R. or Reichsleiter Rosenberg Taskforce. The Database of Art Objects at the Jeu de Paume lists thirty artworks by Maillol. The German Lost Art Foundation database lists 33 entries for Maillol. The German Historical Museum's database for artworks recovered by the Allies at the Munich Central Collecting Point has 13 items related to Maillol. Maillol's sculpture "Head of Flora" was found in the stash of Cornelius Gurlitt, son of Hitler's art dealer Hildebrand Gurlitt together with lithographs, drawings and paintings.
A photograph from May 24, 1946, shows "Six men, members of the Monuments, Fine Arts & Archives section of the military, prepare Aristide Maillol's sculpture Baigneuse à la draperie, looted during World War II for transport to France. Sculpture is labeled with sign: Wiesbaden, no. 31."
Jewish art collectors whose artworks by Maillol were looted by Nazis include Hugo Simon, Alfred Flechtheim and many others.
thumb|200px|Aristide Maillol, The Night, (1902), Stuttgart
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Aristide Maillol
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Works
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Works
Mme Henry Clemens van de Velde (c. 1899)
The Mediterranean (1902–05)
Action in Chains (1905)
Flora, Nude (1910)
L'Été sans bras (1911)
Bathing Woman with Raised Arms (1921)
Nymph (1930)
The Mountain (1937)
L'Air (1938)
The River (1938–43)
Harmonie (1944)
Femme à l’Echarpe (circa 1919–20, cast in bronze in edition of 6; certificate of authenticity from model Dina Vierny dated 29.10.1970)
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Aristide Maillol
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Legacy and Contemporary Influence
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Legacy and Contemporary Influence
Aristide Maillol's work has had a profound and enduring impact on both modern and contemporary art, particularly within the realms of sculpture, the representation of the human body, and the revival of classical forms in the 20th century. His restrained, monumental approach to the female figure influenced numerous artists, sparking discussions about form, abstraction, and the essence of sculpture itself.
One of Maillol's most significant contributions was his rejection of the exaggerated dynamism that characterized much of late 19th-century sculpture, notably the work of his contemporary, Auguste Rodin. Maillol's figures, with their serene and stable forms, marked a return to classical simplicity and purity. This approach resonated with artists like Henry Moore, who cited Maillol as an early influence on his own move toward abstraction and monumentality. Moore admired the way Maillol's work avoided excessive detail, allowing the essential form of the human body to take precedence. In his 1941 writings, Moore stated, "Maillol's influence was important to me because of the calm and permanence that his figures suggest, as well as his return to classical balance and volume." </ref>
Additionally, Hans Arp, a Dadaist and Surrealist artist, found inspiration in Maillol's organic forms, which he believed offered a "timeless universality." Arp's abstracted, rounded sculptures share a kinship with Maillol's pursuit of essential, elemental forms, though Arp pushed these ideas further into abstraction.
Art historians such as Hilton Kramer and Albert Elsen have extensively discussed Maillol's unique place in modern sculpture. Kramer remarked that Maillol's works possess an "elemental calm" and reflect an anti-Romantic sentiment, contrasting sharply with the emotional intensity of Rodin. Elsen, in his study of Maillol's work, argued that his influence can be seen in the development of modernist sculpture, particularly through his focus on the essential harmony of form and space, a concept that paved the way for mid-century minimalism.Albert Elsen, *The Sculpture of Henri Matisse*, Princeton University Press, 1972, p. 102.
In more recent decades, Maillol's sculptures have continued to inspire contemporary artists exploring themes of memory, identity, and the body. The French-Lebanese contemporary artist Oliver Aoun incorporated Maillol's sculptures into his project Lisa Rediviva (2012), which juxtaposes classical representations of the female form with fragmented images of the Mona Lisa. Aoun's work engaged with the legacy of Western iconography, questioning the colonial and patriarchal structures embedded within these revered forms. In reinterpreting Maillol's figures, Oliver Aoun critiqued the traditional Western gaze and proposed a more inclusive dialogue around the representation of women in art.Oliver Aoun, "Lisa Rediviva", 2012. Personal project description.
Furthermore, exhibitions such as the 2011 show at the Musée Maillol in Paris, which focused on the dialogue between Maillol and contemporary sculptors, underscore the relevance of his oeuvre in ongoing conversations about the body, space, and abstraction. Artists such as Jean-Michel Othoniel and Louise Bourgeois have also been said to engage with the themes of solidity and fluidity in ways that echo Maillol's approach to form.Musée Maillol, *Maillol et ses héritiers*, exhibition catalog, 2011.
Maillol's influence persists not only in sculpture but also in broader conversations about the role of classical ideals in contemporary art, inviting ongoing re-evaluation and reinterpretation.
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Aristide Maillol
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References
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References
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Aristide Maillol
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Sources
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Sources
Solomon R. Guggenheim Museum, "Aristide Maillol, 1861–1944", New York, Solomon R. Guggenheim Foundation, 1975.
Frèches-Thory, Claire, & Perucchi-Petry, Ursula, ed.: Die Nabis: Propheten der Moderne, Kunsthaus Zürich & Grand Palais, Paris & Prestel, Munich 1993 (German), (French)
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Aristide Maillol
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Further reading
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Further reading
Lorquin, Bertrand (1995). Maillol. Skira. .
Rewald, John (1951). The Woodcuts of Aristide Maillol. New York: Pantheon Books.
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Aristide Maillol
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External links
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External links
Masters of 20th Century Figure Sculpture
Maillol Museum
Aristide Maillol in Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume
Category:1861 births
Category:1944 deaths
Category:People from Pyrénées-Orientales
Category:French modern sculptors
Category:French male painters
Category:French male sculptors
Category:Nabis (art)
Category:Artists from Occitania (administrative region)
Category:Painters from Catalonia
Category:Sculptors from Catalonia
Category:19th-century French painters
Category:20th-century French painters
Category:20th-century French male artists
Category:19th-century French sculptors
Category:20th-century French sculptors
Category:19th-century French male artists
Category:École des Beaux-Arts alumni
Category:Prix Blumenthal
Category:Road incident deaths in France
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Aristide Maillol
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Table of Content
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Short description, Biography, Nazi-looted art, Works, Legacy and Contemporary Influence, References, Sources, Further reading, External links
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Antonio Canova
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Short description
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Antonio Canova (; 1 November 1757 – 13 October 1822) was an Italian Neoclassical sculptor, famous for his marble sculptures. Often regarded as the greatest of the Neoclassical artists,. his sculpture was inspired by the Baroque and the classical revival, and has been characterised as having avoided the melodramatics of the former, and the cold artificiality of the latter.Jean Martineau & Andrew Robinson, The Glory of Venice: Art in the Eighteenth Century. Yale University Press, 1994. Print.
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Antonio Canova
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Life
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Life
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Antonio Canova
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Possagno
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Possagno
thumb|250px|Pinckney Marcius-Simons, The Child Canova Modeling a Lion Out of Butter, c. 1885
In 1757, Antonio Canova was born in the Venetian Republic city of Possagno to Pietro Canova, a stonecutter, and Angela Zardo Fantolin.. In 1761, his father died. A year later, his mother remarried. As such, in 1762, he was put into the care of his paternal grandfather Pasino Canova, who was a stonemason, owner of a quarry, and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style". He led Antonio into the art of sculpting.
Before the age of ten, Canova began making models in clay, and carving marble.. Indeed, at the age of nine, he executed two small shrines of Carrara marble, which are still extant.. After these works, he appears to have been constantly employed under his grandfather.
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Antonio Canova
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Venice
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Venice
thumb|250px|right|Orpheus, 1777
In 1770, he was an apprentice for two years to Giuseppe Bernardi, who was also known as 'Torretto'. Afterwards, he was under the tutelage of Giovanni Ferrari until he began his studies at the Accademia di Belle Arti di Venezia. At the academy, he won several prizes. During this time, he was given his first workshop within a monastery by some local monks.
The Senator Giovanni Falier commissioned Canova to produce statues of Orpheus and Eurydice for his garden – the Villa Falier at Asolo. The statues were begun in 1775, and both were completed by 1777. The pieces exemplify the late Rococo style. On the year of their completion, both works were exhibited for the Feast of the Ascension in Piazza San Marco. Widely praised, the works won Canova his first renown among the Venetian elite. Another Venetian who is said to have commissioned early works from Canova was the abate Filippo Farsetti, whose collection at Ca' Farsetti on the Grand Canal he frequented.
In 1779, Canova opened his own studio at Calle Del Traghetto at S. Maurizio. At this time, Procurator Pietro Vettor Pisani commissioned Canova's first marble statue: a depiction of Daedalus and Icarus. The statue inspired great admiration for his work at the annual art fair; Canova was paid 100 gold zecchini for the completed work. At the base of the statue, Daedalus' tools are scattered about; these tools are also an allusion to Sculpture, of which the statue is a personification. With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino.
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Antonio Canova
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Rome
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Rome
Canova arrived in Rome, on 28 December 1780. Prior to his departure, his friends had applied to the Venetian Senate for a pension. Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years.
While in Rome, Canova spent time studying and sketching the works of Michelangelo.
thumb|right|250px|Theseus and the Minotaur, Victoria and Albert Museum, London
In 1781, Girolamo Zulian – the Venetian ambassador to Rome – hired Canova to sculpt Theseus and the Minotaur. Zulian played a fundamental role in Canova's rise to fame, turning some rooms of his palace into a studio for the artist and placing his trust in him despite Canova's early critics in Rome. The statue depicts the victorious Theseus seated on the lifeless body of a Minotaur. The initial spectators were certain that the work was a copy of a Greek original, and were shocked to learn it was a contemporary work. The highly regarded work is now in the collection of the Victoria & Albert Museum, in London.
Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to Clement XIV for the Church of Santi Apostoli. After another two years, the work met completion in 1787. The monument secured Canova's reputation as the pre-eminent living artist.
In 1792, he completed another cenotaph, this time commemorating Clement XIII for St. Peter's Basilica. Canova harmonized its design with the older Baroque funerary monuments in the basilica.
In 1790, he began to work on a funerary monument for Titian, which was eventually abandoned by 1795. During the same year, he increased his activity as a painter. Canova was notoriously disinclined to restore sculptures. However, in 1794 he made an exception for his friend and early patron Zulian, restoring a few sculptures that Zulian had moved from Rome to Venice.
The following decade was extremely productive, beginning works such as Hercules and Lichas, Cupid and Psyche, Hebe, Tomb of Duchess Maria Christina of Saxony-Teschen, and The Penitent Magdalene.
In 1797, he went to Vienna, but only a year later, in 1798, he returned to Possagno for a year.
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Antonio Canova
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France and England
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France and England
By 1800, Canova was the most celebrated artist in Europe. He systematically promoted his reputation by publishing engravings of his works and having marble versions of plaster casts made in his workshop.Oskar Batschmann, The Artist in the Modern World: A Conflict Between Market and Self-Expression. DuMont Bunchverlag, 1997. Print. He became so successful that he had acquired patrons from across Europe including France, England, Russia, Austria and Holland, as well as several members from different royal lineages, and prominent individuals. Among his patrons were Napoleon and his family, for whom Canova produced much work, including several depictions between 1803 and 1809. The most notable representations were that of Napoleon as Mars the Peacemaker, and Venus Victrix which was portrayal of Pauline Bonaparte.
Napoleon as Mars the Peacemaker had its inception after Canova was hired to make a bust of Napoleon in 1802. The statue was begun in 1803, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars, the Roman god of War. It was completed in 1806. In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to the Duke of Wellington, after his victory at Waterloo against Napoleon.
thumb|Portrait of Antonio Canova by John Jackson, 1820
Venus Victrix was originally conceived as a robed and recumbent sculpture of Pauline Borghese in the guise of Diana. Instead, Pauline ordered Canova to make the statue a nude Venus. The work was not intended for public viewing.
Other works for the Napoleon family include, a bust of Napoleon, a statue of Napoleon's mother, and Marie Louise as Concordia.
In 1802, Canova was assigned the post of 'Inspector-General of Antiquities and Fine Art of the Papal State', a position formerly held by Raphael. One of his activities in this capacity was to pioneer the restoration of the Appian Way by restoring the tomb of Servilius Quartus.Paris, Rita, "Appia, una questione non risolta" in "La via Appia, il bianco e il nero di un patrimonio italiano." Electa. 2011 In 1808 Canova became an associated member of the Royal Institute of Sciences, Literature and Fine Arts of the Kingdom of Holland.
In 1814, he began his The Three Graces.
In 1815, he was named 'Minister Plenipotentiary of the Pope,' and was tasked by Pope Pius VI with recovering various works of art that were taken to Paris by Napoleon under the terms of the Treaty of Paris (1815). At the Louvre, he faced resistance to restitution from Director Vivant Denon and, due to the works' large size or unclear location, was forced to leave behind major pieces, such as Paolo Veronese's painting The Wedding at Cana.
Also in 1815, he visited London, and met with Benjamin Haydon. It was after the advice of Canova that the Elgin Marbles were acquired by the British Museum, with plaster copies sent to Florence, according to Canova's request.
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Antonio Canova
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Returning to Italy
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Returning to Italy
In 1816, Canova returned to Rome with some of the art Napoleon had taken. He was rewarded with several marks of distinction: he was appointed President of the Accademia di San Luca, inscribed into the "Golden Book of Roman Nobles" by the Pope's own hands, and given the title of Marquis of Ischia, alongside an annual pension of 3,000 crowns.
In 1819, he commenced and completed his commissioned work Venus Italica as a replacement for the Venus de' Medici.
After his 1814 proposal to build a personified statue of Religion for St. Peter's Basilica was rejected, Canova sought to build his own temple to house it. This project came to be the Tempio Canoviano. Canova designed, financed, and partly built the structure himself. The structure was to be a testament to Canova's piety. The building's design was inspired by combining the Parthenon and the Pantheon together. On 11 July 1819, Canova laid the foundation stone dressed in red Papal uniform and decorated with all his medals. It first opened in 1830, and was finally completed in 1836. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno to direct the workmen and encourage them with rewards.
During the period that intervened between commencing operations at Possagno and his death, he executed or finished some of his most striking works. Among these were the group Mars and Venus, the colossal figure of Pius VI, the Pietà, the St John, and a colossal bust of his friend, the Count Leopoldo Cicognara.
thumb|upright|right|George Washington, plaster replica on display at the North Carolina Museum of History
In 1820, he made a statue of George Washington for the state of North Carolina. As recommended by Thomas Jefferson, the sculptor used the marble bust of Washington by Giuseppe Ceracchi as a model. It was delivered on 24 December 1821. The statue and the North Carolina State House where it was displayed were later destroyed by fire in 1831. A plaster replica was sent by King Victor Emmanuel III of Italy in 1910, now on view at the North Carolina Museum of History. A marble copy was sculpted by Romano Vio in 1970, now on view in the rotunda of the capitol building.
In 1822, he journeyed to Naples, to superintend the construction of wax moulds for an equestrian statue of Ferdinand VII. The adventure was disastrous to his health, but soon became healthy enough to return to Rome. From there, he voyaged to Venice; however, on 13 October 1822, he died there at the age of 64. As he never married, the name became extinct, except through his stepbrothers' lineage of Satori-Canova.
On 12 October 1822, Canova instructed his brother to use his entire estate to complete the Tempio in Possagno.
On 25 October 1822, his body was placed in the Tempio Canoviano. His heart was interred at the Basilica di Santa Maria Gloriosa dei Frari in Venice, and his right hand preserved in a vase at the Accademia di Belle Arti di Venezia.
His memorial service was so grand that it rivaled the ceremony that the city of Florence held for Michelangelo in 1564.
In 1826, Giovanni Battista Sartori sold Canova's Roman studio and took every plaster model and sculpture to Possagno, where they were installed in the gypsotheque of the Tempio Canoviano.
thumb|Commemorative plaque at the place of life and death of Antonio Canova, in Rio Orseolo o del Corval
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Antonio Canova
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Works
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Works
Among Canova's most notable works are:
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Antonio Canova
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''Psyche Revived by Cupid's Kiss'' (1787)
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Psyche Revived by Cupid's Kiss (1787)
thumb|right|250px|Detail of Psyche Revived by Cupid's Kiss
Psyche Revived by Cupid's Kiss was commissioned in 1787 by Colonel John Campbell.Johns, C.M.S. (1998) Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe. Berkeley, CA: University of California Press, p. 149. It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss.
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Antonio Canova
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''Napoleon as Mars the Peacemaker'' (1802–1806)
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Napoleon as Mars the Peacemaker (1802–1806)
Napoleon as Mars the Peacemaker had its inception after Canova was hired to make a bust of Napoleon in 1802. The statue was begun in 1802, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars, the Roman god of War. It was completed in 1806. In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to the Duke of Wellington, after his victory at Waterloo against Napoleon and is on display at Apsley House.
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Antonio Canova
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''Perseus Triumphant'' (1804–1806)
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Perseus Triumphant (1804–1806)
thumb|right|250px|Detail of Perseus with the Head of Medusa
Perseus Triumphant, sometimes called Perseus with the Head of Medusa, was a statue commissioned by tribune Onorato Duveyriez. It depicts the Greek hero Perseus after his victory over the Gorgon Medusa.
The statue was based freely on the Apollo Belvedere and the Medusa Rondanini.
Napoleon, after his 1796 Italian Campaign, took the Apollo Belvedere to Paris. In the statue's absence, Pope Pius VII acquired Canova's Perseus Triumphant and placed the work upon the Apollo'''s pedestal.Christopher M. S. Johns, Antonia Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe. University of California Press, 1998. Web. – p. 25 The statue was so successful that when the Apollo was returned, Perseus remained as a companion piece.
One replica of the statue was commissioned from Canova by the Polish countess Waleria Tarnowska; it's now displayed in the Metropolitan Museum of Art in New York City.
Karl Ludwig Fernow said of the statue that "every eye must rest with pleasure on the beautiful surface, even when the mind finds its hopes of high and pure enjoyment disappointed."
Venus Victrix (1805–1808)Venus Victrix ranks among the most famous of Canova's works. Originally, Canova wished the depiction to be of a robed Diana, but Pauline Borghese insisted to appear as a nude Venus. The work was not intended for public viewing.
The Three Graces (1814–1817)
thumb|250px|The Three Graces
John Russell, the 6th Duke of Bedford, commissioned a version of the now famous work.The Three Graces. Victoria & Albert Museum, 2013. Retrieved 2 May 2013. He had previously visited Canova in his studio in Rome in 1814 and had been immensely impressed by a carving of the Graces the sculptor had made for the Empress Joséphine. When the Empress died in May of the same year he immediately offered to purchase the completed piece, but was unsuccessful as Josephine's son Eugène de Beauharnais claimed it (his son Maximilian, Duke of Leuchtenberg brought it to St. Petersburg, where it can now be found in the Hermitage Museum). Undeterred, the Duke commissioned another version for himself.
The sculpting process began in 1814 and was completed in 1817. Finally in 1819 it was installed at the Duke's residence in Woburn Abbey. Canova even made the trip over to England to supervise its installation, choosing for it to be displayed on a pedestal adapted from a marble plinth with a rotating top. This version is now owned jointly by the Victoria and Albert Museum and the National Galleries of Scotland, and is alternately displayed at each.
Artistic process
Canova had a distinct, signature style in which he combined Greek and Roman art practices with early stirrings of romanticism to delve into a new path of Neoclassicism. Canova's sculptures fall into three categories: Heroic compositions, compositions of grace, and sepulchral monuments. In each of these, Canova's underlying artistic motivations were to challenge, if not compete, with classical statues.
Canova refused to take in pupils and students, but would hire workers to carve the initial figure from the marble. According to art historian Giuseppe Pavanello, "Canova's system of work concentrated on the initial idea, and on the final carving of the marble". He had an elaborate system of comparative pointing so that the workers were able to reproduce the plaster form in the selected block of marble.Satish Padiyar, Chains: David, Canova, and the Fall of the Public Hero in Postrevolutionary France. Pennsylvania State University Press, 2007. These workers would leave a thin veil over the entire statue so Canova's could focus on the surface of the statue.
While he worked, he had people read to him select literary and historical texts.
Last touch
During the last quarter of the eighteenth century, it became fashionable to view art galleries at night by torchlight. Canova was an artist that leapt on the fad and displayed his works of art in his studio by candlelight. As such, Canova would begin to finalize the statue with special tools by candlelight, to soften the transitions between the various parts of the nude. After a little recarving, he began to rub the statue down with pumice stone, sometimes for periods longer than weeks or months. If that was not enough, he would use tripoli (rottenstone) and lead.
He then applied a now unknown chemical-composition of patina onto the flesh of the figure to lighten the skin tone. Importantly, his friends also denied any usage of acids in his process.
Criticisms
Conversations revolving around the justification of art as superfluous usually invoked the name of Canova. Karl Ludwig Fernow believed that Canova was not Kantian enough in his aesthetic, because emphasis seemed to have been placed on agreeableness rather than Beauty. Canova was faulted for creating works that were artificial in complexity.
Legacy
thumb|right|250px|Facade of Tempio Canoviano
Although the Romantic period artists buried Canova's name soon after he died, he is slowly being rediscovered. Giuseppe Pavanello wrote in 1996 that "the importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern age".
Canova spent large parts of his fortune helping young students and sending patrons to struggling sculptors, including Sir Richard Westmacott and John Gibson.
He was introduced into various orders of chivalry.
A number of his works, sketches, and writings are collected in the Sala Canoviana of the Museo Civico of Bassano del Grappa. Other works, including plaster casts are the Museo Canoviano in Asolo.
In 2018, a crater on Mercury was named in his honor.
Literary inspirations
Two of Canova's works appear as engravings in Fisher's Drawing Room Scrap Book, 1834, with poetical illustrations by Letitia Elizabeth Landon. These are of The Dancing Girl and Hebe''.
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Antonio Canova
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Commemorations
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Commemorations
Canova, South Dakota
Via Antonio Canova, in Treviso
Aeroporto di Treviso A. Canova
The Museo Canova in Possagno
Tempio Canoviano, in Possagno
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Antonio Canova
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Gallery
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Gallery
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Antonio Canova
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Notes
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Notes
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Antonio Canova
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References
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References
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Antonio Canova
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Sources
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Sources
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Antonio Canova
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External links
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External links
Antonio Canova Digital Archive, digitisation of the "Fondo Antonio Canova" of the Bassano del Grappa Public Library.
Canova's Three Graces (second version) in the Victoria and Albert Museum, London (2000). One of three Flickr photos by ketrin 1407.
Canova's Perseus and Medusa in the Metropolitan Museum of Art, New York (2009). Part of Flickr set by ketrin1407.
Europe in the age of enlightenment and revolution, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Canova (see index)
Antonio Canova: Photo Gallery
Canova's death mask at Princeton
Canova museum and plaster cast gallery
Canova 2009 Exhibition in Forlì, Italy
Category:1757 births
Category:1822 deaths
Category:People from the Province of Treviso
Category:Republic of Venice sculptors
Category:18th-century Italian sculptors
Category:Italian male sculptors
Category:19th-century Italian sculptors
Category:Neoclassical sculptors
Category:Members of the Royal Netherlands Academy of Arts and Sciences
Category:Artists of the Boston Public Library
Category:19th-century Italian male artists
Category:Burials at Santa Maria Gloriosa dei Frari
Category:Elgin Marbles
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Antonio Canova
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Table of Content
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Short description, Life, Possagno, Venice, Rome, France and England, Returning to Italy, Works, ''Psyche Revived by Cupid's Kiss'' (1787), ''Napoleon as Mars the Peacemaker'' (1802–1806), ''Perseus Triumphant'' (1804–1806), Commemorations, Gallery, Notes, References, Sources, External links
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Auguste Rodin
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Short description
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François Auguste René Rodin (;"Rodin". Random House Webster's Unabridged Dictionary. ; 12 November 184017 November 1917) was a French sculptor generally considered the founder of modern sculpture.William Tucker, Early Modern Sculpture: Rodin, Degas, Matisse, Brancusi, Picasso, Gonzalez, 16. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay. He is known for such sculptures as The Thinker, Monument to Balzac, The Kiss, The Burghers of Calais, and The Gates of Hell.
Many of Rodin's most notable sculptures were criticized, as they clashed with predominant figurative sculpture traditions in which works were decorative, formulaic, or highly thematic. Rodin's most original work departed from traditional themes of mythology and allegory. He modeled the human body with naturalism, and his sculptures celebrate individual character and physicality. Although Rodin was sensitive to the controversy surrounding his work, he refused to change his style, and his continued output brought increasing favor from the government and the artistic community.
From the unexpected naturalism of Rodin's first major figure – inspired by his 1875 trip to Italy – to the unconventional memorials whose commissions he later sought, his reputation grew, and Rodin became the preeminent French sculptor of his time. By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin's work after his World's Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. His student, Camille Claudel, became his associate, lover, and creative rival. Rodin's other students included Antoine Bourdelle, Constantin Brâncuși, and Charles Despiau. He married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, but within a few decades his legacy solidified. Rodin remains one of the few sculptors widely known outside the visual arts community.
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Auguste Rodin
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Biography
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Biography
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Auguste Rodin
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Formative years
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Formative years
Rodin was born in 1840 into a working-class family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin, who was a police department clerk. He was largely self-educated,"(François) Auguste (René) Rodin." International Dictionary of Art and Artists. St. James Press, 1990. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2006. and began to draw at age 10. Between ages 14 and 17, he attended the Petite École, a school specializing in art and mathematics where he studied drawing and painting. His drawing teacher Horace Lecoq de Boisbaudran believed in first developing the personality of his students so that they observed with their own eyes and drew from their recollections, and Rodin expressed appreciation for his teacher much later in life.Jianou & Goldscheider, 31. It was at Lecoq's studio that he met Jules Dalou and Alphonse Legros.
thumb|left|upright|Rodin c. 1862
In 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance; he did not succeed, and two further applications were also denied. Entrance requirements were not particularly high at the Grande École,Hale, 40. so the rejections were considerable setbacks. Rodin's inability to gain entrance may have been due to the judges' Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. He left the Petite École in 1857 and earned a living as a craftsman and ornamenter for most of the next two decades, producing decorative objects and architectural embellishments.
Rodin's sister Maria, two years his senior, died of peritonitis in a convent in 1862, and Rodin was anguished with guilt because he had introduced her to an unfaithful suitor. He turned away from art and joined the Catholic order of the Congregation of the Blessed Sacrament as a laybrother. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodin's talent and sensed his lack of suitability for the order, so he encouraged Rodin to continue with his sculpture. Rodin returned to work as a decorator while taking classes with animal sculptor Antoine-Louis Barye. The teacher's attention to detail and his finely rendered musculature of animals in motion significantly influenced Rodin.
In 1864, Rodin began to live with a young seamstress named Rose Beuret (born in June 1844), with whom he stayed for the rest of his life, with varying commitment. The couple had a son named Auguste-Eugène Beuret (1866–1934).Date of death from Elsen, 206. That year, Rodin offered his first sculpture for exhibition and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets d'art. Rodin worked as Carrier-Belleuse' chief assistant until 1870, designing roof decorations and staircase and doorway embellishments. With the arrival of the Franco-Prussian War, Rodin was called to serve in the French National Guard, but his service was brief due to his near-sightedness.Jianou & Goldscheider, 34. Decorators' work had dwindled because of the war, yet Rodin needed to support his family, as poverty was a continual difficulty for him until about the age of 30.Jianou & Goldscheider, 35. Carrier-Belleuse soon asked him to join him in Belgium, where they worked on ornamentation for the Brussels Stock Exchange in 1871.
Rodin planned to stay in Belgium a few months, but he spent the next six years outside of France. It was a pivotal time in his life. He had acquired skill and experience as a craftsman, but no one had yet seen his art, which sat in his workshop since he could not afford castings. His relationship with Carrier-Belleuse had deteriorated, but he found other employment in Brussels, displaying some works at salons, and his companion Rose soon joined him there. Having saved enough money to travel, Rodin visited Italy for two months in 1875, where he was drawn to the work of Donatello and Michelangelo. Their work had a profound effect on his artistic direction.Hale, 49–50. Rodin said, "It is Michelangelo who has freed me from academic sculpture."Taillandier, 91. Returning to Belgium, he began work on The Age of Bronze, a life-size male figure whose naturalism brought Rodin attention but led to accusations of sculptural cheatingits naturalism and scale was such that critics alleged he had cast the work from a living model. Much of Rodin's later work was explicitly larger or smaller than life, in part to demonstrate the folly of such accusations.
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Auguste Rodin
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Artistic independence
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Artistic independence
thumb|upright|Auguste Rodin, John Singer Sargent, 1884
Rose Beuret and Rodin returned to Paris in 1877, moving into a small flat on the Left Bank. Misfortune surrounded Rodin: his mother, who had wanted to see her son marry, was dead, and his father was blind and senile, cared for by Rodin's sister-in-law, Aunt Thérèse. Rodin's eleven-year-old son Auguste, possibly developmentally delayed, was also in the ever-helpful Thérèse's care. Rodin had essentially abandoned his son for six years,Hale, 65. and would have a very limited relationship with him throughout his life. Father and son joined the couple in their flat, with Rose as caretaker. Charges of fakery surrounding The Age of Bronze continued. Rodin increasingly sought soothing female companionship in Paris, and Rose stayed in the background.
Rodin earned his living collaborating with more established sculptors on public commissions, primarily memorials and neo-baroque architectural pieces in the style of Carpeaux.Janson, 638. In competitions for commissions he submitted models of Denis Diderot, Jean-Jacques Rousseau, and Lazare Carnot, all to no avail. On his own time, he worked on studies leading to the creation of his next important work, St. John the Baptist Preaching.
thumb|left|Rodin,
In 1880, Carrier-Belleuse – then art director of the Sèvres national porcelain factory – offered Rodin a part-time position as a designer. The offer was in part a gesture of reconciliation, and Rodin accepted. That part of Rodin which appreciated 18th-century tastes was aroused, and he immersed himself in designs for vases and table ornaments that brought the factory renown across Europe.Hale, 70.
The artistic community appreciated his work in this vein, and Rodin was invited to Paris Salons by such friends as writer Léon Cladel. During his early appearances at these social events, Rodin seemed shy;Hale, 71. in his later years, as his fame grew, he displayed the loquaciousness and temperament for which he is better known. French statesman Leon Gambetta expressed a desire to meet Rodin, and the sculptor impressed him when they met at a salon. Gambetta spoke of Rodin in turn to several government ministers, likely including , the Undersecretary of the Ministry of Fine Arts, whom Rodin eventually met.
Rodin's relationship with Turquet was rewarding. Through Turquet, he won the 1880 commission to create a portal for a planned museum of decorative arts. Rodin dedicated much of the next four decades to his elaborate Gates of Hell, an unfinished portal for a museum that was never built. Many of the portal's figures became sculptures in themselves, including Rodin's most famous, The Thinker and The Kiss. With the museum commission came a free studio, granting Rodin a new level of artistic freedom. Soon, he stopped working at the porcelain factory in 1882; his income came from private commissions.
In 1883, Rodin agreed to supervise a course for sculptor Alfred Boucher in his absence, where he met the 18-year-old Camille Claudel. The two formed a passionate but stormy relationship and influenced each other artistically. Claudel inspired Rodin as a model for many of his figures, and she was a talented sculptor, assisting him on commissions as well as creating her own works. Her Bust of Rodin was displayed to critical acclaim at the 1892 Salon.
thumb|upright|Bust of Rodin (1888–89) by Camille Claudel
Although busy with The Gates of Hell, Rodin won other commissions. He pursued an opportunity to create a historical monument for the town of Calais. For a monument to French author Honoré de Balzac, Rodin was chosen in 1891. His execution of both sculptures clashed with traditional tastes and met with varying degrees of disapproval from the organizations that sponsored the commissions. Still, Rodin was gaining support from diverse sources that propelled him toward fame.
In 1889, the Paris Salon invited Rodin to be a judge on its artistic jury. Though Rodin's career was on the rise, Claudel and Beuret were becoming increasingly impatient with Rodin's "double life". Claudel and Rodin shared an atelier at a small old castle (the Château de l'Islette in the Loire), but Rodin refused to relinquish his ties to Beuret, his loyal companion during the lean years, and mother of his son. During one absence, Rodin wrote to Beuret, "I think of how much you must have loved me to put up with my caprices...I remain, in all tenderness, your Rodin."Hale, 75.
thumb|upright|A photograph of Rodin in 1891 by Nadar
Claudel and Rodin parted in 1898. Claudel suffered an alleged nervous breakdown several years later and was confined to an institution for 30 years by her family, until her death in 1943, despite numerous attempts by doctors to explain to her mother and brother that she was sane.
In 1904, Rodin was introduced to the Welsh artist, Gwen John, who modelled for him and became his lover after being introduced by Hilda Flodin. John had a fervent attachment to Rodin and would write to him thousands of times over the next ten years. As their relationship came to a close, despite his genuine feeling for her, Rodin eventually resorted to the use of concièrges and secretaries to keep her at a distance.
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Auguste Rodin
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Works
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Works
alt=Life-sized nude stature of a male on a pedestal on display in a museum.|thumb|right|upright|The Age of Bronze (1877)
In 1864, Rodin submitted his first sculpture for exhibition, The Man with the Broken Nose, to the Paris Salon. The subject was an elderly neighborhood street porter. The unconventional bronze piece was not a traditional bust, but instead the head was "broken off" at the neck, the nose was flattened and crooked, and the back of the head was absent, having fallen off the clay model in an accident. The work emphasized texture and the emotional state of the subject; it illustrated the "unfinishedness" that would characterize many of Rodin's later sculptures.Janson, 637. The Salon initially rejected the piece, though it would accept a version carved in marble by an assistant of Rodin's in 1875.
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Auguste Rodin
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Early figures: the inspiration of Italy
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Early figures: the inspiration of Italy
In Brussels, Rodin created his first full-scale work, The Age of Bronze, having returned from Italy. Modeled after a Belgian soldier, the figure drew inspiration from Michelangelo's Dying Slave, which Rodin had observed at the Louvre. Attempting to combine Michelangelo's mastery of the human form with his own sense of human nature, Rodin studied his model from all angles, at rest and in motion; he mounted a ladder for additional perspective, and made clay models, which he studied by candlelight. The result was a life-size, well-proportioned nude figure, posed unconventionally with his right hand atop his head, and his left arm held out at his side, forearm parallel to the body.
In 1877, the work debuted in Brussels and then was shown at the Paris Salon. The statue's apparent lack of a theme was troubling to critics – commemorating neither mythology nor a noble historical event – and it is not clear whether Rodin intended a theme.Hale, 50. He first titled the work The Vanquished, in which form the left hand held a spear, but he removed the spear because it obstructed the torso from certain angles. After two more intermediary titles, Rodin settled on The Age of Bronze, suggesting the Bronze Age, and in Rodin's words, "man arising from nature".Hale, 51. Later, however, Rodin said that he had had in mind "just a simple piece of sculpture without reference to subject".
Its mastery of form, light, and shadow made the work look so naturalistic that Rodin was accused of surmoulage – having taken a cast from a living model. Rodin vigorously denied the charges, writing to newspapers and having photographs taken of the model to prove how the sculpture differed. He demanded an inquiry and was eventually exonerated by a committee of sculptors. Leaving aside the false charges, the piece polarized critics. It had barely won acceptance for display at the Paris Salon, and criticism likened it to "a statue of a sleepwalker" and called it "an astonishingly accurate copy of a low type". Others rallied to defend the piece and Rodin's integrity. The government minister Turquet admired the piece, and The Age of Bronze was purchased by the state for 2,200 francs – what it had cost Rodin to have it cast in bronze.
alt=Nude man holding is hand out, as if explaining a point.|thumb|upright|St. John the Baptist Preaching (1878)
A second male nude, St. John the Baptist Preaching, was completed in 1878. Rodin sought to avoid another charge of surmoulage by making the statue larger than life: St. John stands almost . While The Age of Bronze is statically posed, St. John gestures and seems to move toward the viewer. The effect of walking is achieved despite the figure having both feet firmly on the ground – a technical achievement that was lost on most contemporary critics.Hale, 80. Rodin chose this contradictory position to, in his words, "display simultaneously...views of an object which in fact can be seen only successively".Hale, 68.
Despite the title, St. John the Baptist Preaching did not have an obviously religious theme. The model, an Italian peasant who presented himself at Rodin's studio, possessed an idiosyncratic sense of movement that Rodin felt compelled to capture. Rodin thought of John the Baptist and carried that association into the title of the work. In 1880, Rodin submitted the sculpture to the Paris Salon. Critics were still mostly dismissive of his work, but the piece finished third in the Salon's sculpture category.
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Auguste Rodin
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''The Gates of Hell''
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The Gates of Hell
alt=Ornate, bronze door panels and frame showing figures and scenes in relief.|thumb|upright|left|The Gates of Hell (unfinished), Kunsthaus Zürich
A commission to create a portal for Paris' planned Museum of Decorative Arts was awarded to Rodin in 1880. Although the museum was never built, Rodin worked throughout his life on The Gates of Hell, a monumental sculptural group depicting scenes from Dante's Inferno in high relief. Often lacking a clear conception of his major works, Rodin compensated with hard work and a striving for perfection.Elsen, 35.
He conceived The Gates with the surmoulage controversy still in mind: "...I had made the St. John to refute [the charges of casting from a model], but it only partially succeeded. To prove completely that I could model from life as well as other sculptors, I determined...to make the sculpture on the door of figures smaller than life." Laws of composition gave way to the Gates''' disordered and untamed depiction of Hell. The figures and groups in this, Rodin's meditation on the condition of man, are physically and morally isolated in their torment.Jianou & Goldscheider, 41.The Gates of Hell comprised 186 figures in its final form. Many of Rodin's best-known sculptures started as designs of figures for this composition, such as The Thinker, The Three Shades, and The Kiss, and were only later presented as separate and independent works. Other well-known works derived from The Gates are Ugolino, Fallen Caryatid Carrying her Stone, Fugit Amor, She Who Was Once the Helmet-Maker's Beautiful Wife, The Falling Man, and The Prodigal Son.
The Thinker
thumb|upright|Rodin's The Thinker (1879–1889) is among the most recognized works in all of sculpture.The Thinker (originally titled The Poet, after Dante) was to become one of the best-known sculptures in the world. The original was a high bronze piece created between 1879 and 1889, designed for the Gates' lintel, from which the figure would gaze down upon Hell. While The Thinker most obviously characterizes Dante, aspects of the Biblical Adam, the mythological Prometheus, and Rodin himself have been ascribed to him. Other observers de-emphasize the apparent intellectual theme of The Thinker, stressing the figure's rough physicality and the emotional tension emanating from it.Taillandier, 42, 46, 48.
The Burghers of Calais
alt=See adjacent text.|thumb|left|The Burghers of Calais (1884–ca. 1889) in Victoria Tower Gardens, London, England
The town of Calais had contemplated a historical monument for decades when Rodin learned of the project. He pursued the commission, interested in the medieval motif and patriotic theme. The mayor of Calais was tempted to hire Rodin on the spot upon visiting his studio, and soon the memorial was approved, with Rodin as its architect. It would commemorate the six townspeople of Calais who offered their lives to save their fellow citizens.
During the Hundred Years' War, the army of King Edward III besieged Calais, and Edward ordered that the town's population be killed en masse. He agreed to spare them if six of the principal citizens would come to him prepared to die, bareheaded and barefooted and with ropes around their necks. When they came, he ordered that they be executed, but pardoned them when his queen, Philippa of Hainault, begged him to spare their lives. The Burghers of Calais depicts the men as they are leaving for the king's camp, carrying keys to the town's gates and citadel.
Rodin began the project in 1884, inspired by the chronicles of the siege by Jean Froissart. Though the town envisioned an allegorical, heroic piece centered on Eustache de Saint-Pierre, the eldest of the six men, Rodin conceived the sculpture as a study in the varied and complex emotions under which all six men were laboring. One year into the commission, the Calais committee was not impressed with Rodin's progress. Rodin indicated his willingness to end the project rather than change his design to meet the committee's conservative expectations, but Calais said to continue.
In 1889, The Burghers of Calais was first displayed to general acclaim. It is a bronze sculpture weighing , and its figures are tall. The six men portrayed do not display a united, heroic front; rather, each is isolated from his brothers, individually deliberating and struggling with his expected fate. Rodin soon proposed that the monument's high pedestal be eliminated, wanting to move the sculpture to ground level so that viewers could "penetrate to the heart of the subject".Hale, 117. At ground level, the figures' positions lead the viewer around the work, and subtly suggest their common movement forward.Hale, 115
The committee was incensed by the untraditional proposal, but Rodin would not yield. In 1895, Calais succeeded in having Burghers displayed in their preferred form: the work was placed in front of a public garden on a high platform, surrounded by a cast-iron railing. Rodin had wanted it located near the town hall, where it would engage the public. Only after damage during the First World War, subsequent storage, and Rodin's death was the sculpture displayed as he had intended. It is one of Rodin's best-known and most acclaimed works.
Commissions and controversy
thumb|upright|left|Rodin in mid-career
Commissioned to create a monument to French writer Victor Hugo in 1889, Rodin dealt extensively with the subject of artist and muse. Like many of Rodin's public commissions, Monument to Victor Hugo was met with resistance because it did not fit conventional expectations. Commenting on Rodin's monument to Victor Hugo, The Times in 1909 expressed that "there is some show of reason in the complaint that [Rodin's] conceptions are sometimes unsuited to his medium, and that in such cases they overstrain his vast technical powers". The 1897 plaster model was not cast in bronze until 1964.
The Société des Gens des Lettres, a Parisian organization of writers, planned a monument to French novelist Honoré de Balzac immediately after his death in 1850. The society commissioned Rodin to create the memorial in 1891, and Rodin spent years developing the concept for his sculpture. Challenged in finding an appropriate representation of Balzac given the author's rotund physique, Rodin produced many studies: portraits, full-length figures in the nude, wearing a frock coat, or in a robe – a replica of which Rodin had requested. The realized sculpture displays Balzac cloaked in the drapery, looking forcefully into the distance with deeply gouged features. Rodin's intent had been to show Balzac at the moment of conceiving a work – to express courage, labor, and struggle.Hale, 136.
thumb|Rodin observing work on the monument to Victor Hugo at the studio of his assistant Henri Lebossé in 1896
When Monument to Balzac was exhibited in 1898, the negative reaction was not surprising. The Société rejected the work, and the press ran parodies. Criticizing the work, Morey (1918) reflected, "there may come a time, and doubtless will come a time, when it will not seem outre to represent a great novelist as a huge comic mask crowning a bathrobe, but even at the present day this statue impresses one as slang." A modern critic, indeed, claims that Balzac is one of Rodin's masterpieces.
The monument had its supporters in Rodin's day; a manifesto defending him was signed by Monet, Debussy, and future Premier Georges Clemenceau, among many others.Hale, 122. In the BBC series Civilisation, art historian Kenneth Clark praised the monument as "the greatest piece of sculpture of the 19th Century, perhaps, indeed, the greatest since Michelangelo."Civilisation, BBC, Episode 12 Rather than try to convince skeptics of the merit of the monument, Rodin repaid the Société his commission and moved the figure to his garden. After this experience, Rodin did not complete another public commission. Only in 1939 was Monument to Balzac cast in bronze and placed on the Boulevard du Montparnasse at the intersection with Boulevard Raspail.
Other works
alt=Pencil and watercolor depiction of a nude reclining woman.|thumb|right|upright|Reclining Woman (1890s) in the National Museum, Warsaw
The popularity of Rodin's most famous sculptures tends to obscure his total creative output. A prolific artist, he created thousands of busts, figures, and sculptural fragments over more than five decades. He painted in oils (especially in his thirties) and in watercolors. The Musée Rodin holds 7,000 of his drawings and prints, in chalk and charcoal, and thirteen vigorous drypoints.Hale, 12.
Portraiture was an important component of Rodin's oeuvre, helping him to win acceptance and financial independence.Hale, 82. His first sculpture was a bust of his father in 1860, and he produced at least 56 portraits between 1877 and his death in 1917. Early subjects included fellow sculptor Jules Dalou (1883) and companion Camille Claudel (1884).
Later, with his reputation established, Rodin made busts of prominent contemporaries such as English politician George Wyndham (1905), Irish playwright George Bernard Shaw (1906), socialist (and former mistress of the Prince of Wales who became King Edward VII) Countess of Warwick (1908), Austrian composer Gustav Mahler (1909), former Argentine president Domingo Faustino Sarmiento and French statesman Georges Clemenceau (1911).
His undated drawing Study of a Woman Nude, Standing, Arms Raised, Hands Crossed Above Head is one of the works seized in 2012 from the collection of Cornelius Gurlitt.
Aesthetic
thumb|upright|A famous "fragment": The Walking Man (1877–78)
Rodin was a naturalist, less concerned with monumental expression than with character and emotion. Departing with centuries of tradition, he turned away from the idealism of the Greeks, and the decorative beauty of the Baroque and neo-Baroque movements. His sculpture emphasized the individual and the concreteness of flesh, and suggested emotion through detailed, textured surfaces, and the interplay of light and shadow. To a greater degree than his contemporaries, Rodin believed that an individual's character was revealed by his physical features.Hale, 76.
Rodin's talent for surface modeling allowed him to let every part of the body speak for the whole. The male's passion in The Thinker is suggested by the grip of his toes on the rock, the rigidness of his back, and the differentiation of his hands. Speaking of The Thinker, Rodin illuminated his aesthetic: "What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, his distended nostrils and compressed lips, but with every muscle of his arms, back, and legs, with his clenched fist and gripping toes."
Sculptural fragments to Rodin were autonomous works, and he considered them the essence of his artistic statement. His fragments – perhaps lacking arms, legs, or a head – took sculpture further from its traditional role of portraying likenesses, and into a realm where forms existed for their own sake.Hale, 69. Notable examples are The Walking Man, Meditation without Arms, and Iris, Messenger of the Gods.
Rodin saw suffering and conflict as hallmarks of modern art. "Nothing, really, is more moving than the maddened beast, dying from unfulfilled desire and asking in vain for grace to quell its passion." Charles Baudelaire echoed those themes and was among Rodin's favorite poets. Rodin enjoyed music, especially the opera composer Gluck, and wrote a book about French cathedrals. He owned a work by the as-yet-unrecognized Van Gogh and admired the forgotten El Greco.
Method
Instead of copying traditional academic postures, Rodin preferred his models to move naturally around his studio (despite their nakedness). The sculptor often made quick sketches in clay that were later fine-tuned, cast in plaster, and cast in bronze or carved from marble. Rodin's focus was on the handling of clay.Quoted in Jianou & Goldscheider, 62.
George Bernard Shaw sat for a portrait and gave an idea of Rodin's technique: "While he worked, he achieved a number of miracles. At the end of the first fifteen minutes, after having given a simple idea of the human form to the block of clay, he produced by the action of his thumb a bust so living that I would have taken it away with me to relieve the sculptor of any further work."
He described the evolution of his bust over a month, passing through "all the stages of art's evolution": first, a "Byzantine masterpiece", then "Bernini intermingled", then an elegant Houdon. "The hand of Rodin worked not as the hand of a sculptor works, but as the work of Elan Vital. The Hand of God is his own hand."
After he completed his work in clay, he employed highly skilled assistants to re-sculpt his compositions at larger sizes (including any of his large-scale monuments such as The Thinker), to cast the clay compositions into plaster or bronze, and to carve his marbles. Rodin's major innovation was to capitalize on such multi-staged processes of 19th century sculpture and their reliance on plaster casting.
Since clay deteriorates rapidly if not kept wet or fired into a terra-cotta, sculptors used plaster casts as a means of securing the composition they would make from the fugitive material that is clay. This was common practice amongst Rodin's contemporaries, and sculptors would exhibit plaster casts with the hopes that they would be commissioned to have the works made in a more permanent material. Rodin, however, would have multiple plasters made and treat them as the raw material of sculpture, recombining their parts and figures into new compositions, and new names.
As Rodin's practice developed into the 1890s, he became more and more radical in his pursuit of fragmentation, the combination of figures at different scales, and the making of new compositions from his earlier work. A prime example of this is the bold The Walking Man (1899–1900), which was exhibited at his major one-person show in 1900. This is composed of two sculptures from the 1870s that Rodin found in his studio – a broken and damaged torso that had fallen into neglect and the lower extremities of a statuette version of his 1878 St. John the Baptist Preaching he was having re-sculpted at a reduced scale.
Later years (1900–1917)
thumb|left|upright|A portrait of Rodin by his friend Alphonse Legros
By 1900, Rodin's artistic reputation was established. Gaining exposure from a pavilion of his artwork set up near the 1900 World's Fair (Exposition Universelle) in Paris, he received requests to make busts of prominent people internationally, while his assistants at the atelier produced duplicates of his works. His income from portrait commissions alone totaled probably 200,000 francs a year.Hale, 147. As Rodin's fame grew, he attracted many followers, including the German poet Rainer Maria Rilke, and authors Octave Mirbeau, Joris-Karl Huysmans, and Oscar Wilde.
Rilke stayed with Rodin in 1905 and 1906 and did administrative work for him; he would later write a laudatory monograph on the sculptor. Rodin and Beuret's modest country estate in Meudon, purchased in 1897, was a host to such guests as King Edward, dancer Isadora Duncan, and harpsichordist Wanda Landowska. A British journalist who visited the property noted in 1902 that in its complete isolation, there was "a striking analogy between its situation and the personality of the man who lives in it". Rodin moved to the city in 1908, renting the main floor of the Hôtel Biron, an 18th-century townhouse. He left Beuret in Meudon and began an affair with the American-born Duchesse de Choiseul. From 1910, he mentored the Russian sculptor, Moissey Kogan.
United States
thumb|upright|Ève au rocher, 1881 – c. 1899 bronze, Jardin des Tuileries, Paris
While Rodin was beginning to be accepted in France by the time of The Burghers of Calais, he had not yet conquered the American market. Because of his technique and the frankness of some of his work, he did not have an easy time selling his work to American industrialists. However, he came to know Sarah Tyson Hallowell (1846–1924), a curator from Chicago who visited Paris to arrange exhibitions at the large Interstate Expositions of the 1870s and 1880s. Hallowell was not only a curator but an adviser and a facilitator who was trusted by a number of prominent American collectors to suggest works for their collections, the most prominent of these being the Chicago hotelier Potter Palmer and his wife, Bertha Palmer (1849–1918).
The next opportunity for Rodin in America was the 1893 Chicago World's Fair.The Indefatigable Miss Hallowell, p. 6 Hallowell wanted to help promote Rodin's work and he suggested a solo exhibition, which she wrote him was beaucoup moins beau que l'original but impossible, outside the rules. Instead, she suggested he send a number of works for her loan exhibition of French art from American collections and she told him she would list them as being part of an American collection.Rodin: The Shape of Genius, p. 399 Rodin sent Hallowell three works, Cupid and Psyche, Sphinx and Andromeda. All nudes, these works provoked great controversy and were ultimately hidden behind a drape with special permission given for viewers to see them.The Documented Image, p. 97Bust of Dalou and Burgher of Calais were on display in the official French pavilion at the fair and so between the works that were on display and those that were not, he was noticed. However, the works he gave Hallowell to sell found no takers, but she soon brought the controversial Quaker-born financier Charles Yerkes (1837–1905) into the fold and he purchased two large marbles for his Chicago manse; Yerkes was likely the first American to own a Rodin sculpture.Franch, John (2006). Robber Baron: The Life of Charles Tyson Yerkes. Urbana: University of Illinois Press; p. 209.
Other collectors soon followed including the tastemaking Potter Palmers of Chicago and Isabella Stewart Gardner (1840–1924) of Boston, all arranged by Sarah Hallowell. In appreciation for her efforts at unlocking the American market, Rodin eventually presented Hallowell with a bronze, a marble and a terra cotta. When Hallowell moved to Paris in 1893, she and Rodin continued their warm friendship and correspondence, which lasted to the end of the sculptor's life.Extensive correspondence in Musee Rodin After Hallowell's death, her niece, the painter Harriet Hallowell, inherited the Rodins and after her death, the American heirs could not manage to match their value in order to export them, so they became the property of the French state.The indefatigable Miss Hallowell, p. 8
Great Britain
After the start of the 20th century, Rodin was a regular visitor to Great Britain, where he developed a loyal following by the beginning of the First World War. He first visited England in 1881, where his friend, the artist Alphonse Legros, had introduced him to the poet William Ernest Henley. With his personal connections and enthusiasm for Rodin's art, Henley was most responsible for Rodin's reception in Britain. Rodin later returned the favor by sculpting a bust of Henley that was used as the frontispiece to Henley's collected works and, after his death, on his monument in London.
Through Henley, Rodin met Robert Louis Stevenson and Robert Browning, in whom he found further support.Hale, 73. Encouraged by the enthusiasm of British artists, students, and high society for his art, Rodin donated a selection of his works to the nation in 1914.
After the revitalization of the Société Nationale des Beaux-Arts in 1890, Rodin served as the body's vice-president. In 1903, Rodin was elected president of the International Society of Painters, Sculptors, and Engravers. He replaced its former president, James Abbott McNeill Whistler, upon Whistler's death. His election to the prestigious position was largely due to the efforts of Albert Ludovici, father of English philosopher Anthony Ludovici, who was private secretary to Rodin for several months in 1906, but the two men parted company after Christmas, "to their mutual relief."Ludovici, Anthony M. (1923). "Personal Reminiscences of Auguste Rodin", Cornhill Magazine, Vol. LV, Nos. 325–26, New Series.
During his later creative years, Rodin's work turned increasingly toward the female form, and themes of more overt masculinity and femininity. He concentrated on small dance studies, and produced numerous erotic drawings, sketched in a loose way, without taking his pencil from the paper or his eyes from the model. Rodin met American dancer Isadora Duncan in 1900, attempted to seduce her,Hale, 10. and the next year sketched studies of her and her students. In July 1906, Rodin was also enchanted by dancers from the Royal Ballet of Cambodia and produced some of his most famous drawings from the experience.
Fifty-three years into their relationship, Rodin married Rose Beuret. They married on 29 January 1917, and Beuret died two weeks later, on 16 February. Rodin was ill that year; in January, he suffered weakness from influenza, and on 16 November his physician announced that "congestion of the lungs has caused great weakness. The patient's condition is grave." Rodin died the next day, age 77, at his villa in Meudon, Île-de-France, on the outskirts of Paris.
A cast of The Thinker was placed next to his tomb in Meudon; it was Rodin's wish that the figure served as his headstone and epitaph.Elsen, 52. In 1923, Marcell Tirel, Rodin's secretary, published a book alleging that Rodin's death was largely due to cold, and the fact that he had no heat at Meudon. Rodin requested permission to stay in the Hotel Biron, a museum of his works, but the director of the museum refused to let him stay there.
Legacy
Rodin willed to the French state his studio and the right to make casts from his plasters. Because he encouraged the edition of his sculpted work, Rodin's sculptures are represented in many public and private collections. The Musée Rodin was founded in 1916 and opened in 1919 at the Hôtel Biron, where Rodin had lived, and it holds the largest Rodin collection, with more than 6,000 sculptures and 7,000 works on paper. The French order made him a Commander, and he received an honorary doctorate from the University of Oxford in 1907.
During his lifetime, Rodin was compared to Michelangelo, and was widely recognized as the greatest artist of the era. In the three decades following his death, his popularity waned with changing aesthetic values. Since the 1950s, Rodin's reputation has re-ascended; he is recognized as the most important sculptor of the modern era, and has been the subject of much scholarly work. The sense of incompletion offered by some of his sculpture, such as The Walking Man, influenced the increasingly abstract sculptural forms of the 20th century.Taillandier, 23.
Rodin restored an ancient role of sculpture – to capture the physical and intellectual force of the human subject – and he freed sculpture from the repetition of traditional patterns, providing the foundation for greater experimentation in the 20th century. His popularity is ascribed to his emotion-laden representations of ordinary men and women – to his ability to find the beauty and pathos in the human animal. His most popular works, such as The Kiss and The Thinker, are widely used outside the fine arts as symbols of human emotion and character. To honor Rodin's artistic legacy, the Google search engine homepage displayed a Google Doodle featuring The Thinker to celebrate his 172nd birthday on 12 November 2012.
Rodin had enormous artistic influence. A whole generation of sculptors studied in his workshop. These include Gutzon Borglum, Antoine Bourdelle, Constantin Brâncuși, Camille Claudel, Charles Despiau, Malvina Hoffman, Carl Milles, François Pompon, Rodo, Gustav Vigeland, Clara Westhoff and Margaret Winser, even though Brancusi later rejected his legacy. Rodin also promoted the work of other sculptors, including Aristide Maillol and Ivan Meštrović whom Rodin once called "the greatest phenomenon amongst sculptors." Other sculptors whose work has been described as owing to Rodin include Joseph Csaky,Edith Balas, 1998, Joseph Csaky: A Pioneer of Modern Sculpture, Philadelphia: American Philosophical Society Alexander Archipenko, Joseph Bernard, Henri Gaudier-Brzeska, Georg Kolbe, Wilhelm Lehmbruck, Jacques Lipchitz, Pablo Picasso, Adolfo Wildt, and Ossip Zadkine. Henry Moore acknowledged Rodin's seminal influence on his work.
Several films have been made featuring Rodin as a prominent character or presence. These include Camille Claudel, a 1988 film in which Gérard Depardieu portrays Rodin, Camille Claudel 1915 from 2013, and Rodin, a 2017 film starring Vincent Lindon as Rodin. Furthermore, the Rodin Studios artists' cooperative housing in New York City, completed in 1917 to designs by Cass Gilbert, was named after Rodin.
Forgeries
The relative ease of making reproductions has also encouraged many forgeries: a survey of expert opinion placed Rodin in the top ten most-faked artists. Rodin fought against forgeries of his works as early as 1901, and since his death, many cases of organized, large-scale forgeries have been revealed. A massive forgery was discovered by French authorities in the early 1990s and led to the conviction of art dealer Guy Hain.Procès Guy Hain, une décision qui fera jurisprudence . Le Journal des Arts. n° 126. 27 April 2001. Artclair.com. Retrieved on 2 November 2011.
To deal with the complexity of bronze reproduction, France has promulgated several laws since 1956 which limit reproduction to twelve casts – the maximum number that can be made from an artist's plasters and still be considered his work. As a result of this limit, The Burghers of Calais, for example, is found in fourteen cities.
In the market for sculpture, plagued by fakes, the value of a piece increases significantly when its provenance can be established. A Rodin work with a verified history sold for US$4.8 million in 1999, and Rodin's bronze Ève, grand modele – version sans rocher sold for $18.9 million at a 2008 Christie's auction in New York. Art critics concerned about authenticity have argued that taking a cast does not equal reproducing a Rodin sculpture – especially given the importance of surface treatment in Rodin's work.
A number of drawings previously attributed to Rodin are now known to have been forged by Ernest Durig.
See also
List of sculptures by Auguste Rodin
Auguste Rodin left many sculptural traces in Brussels | Focus on Belgium
FRENCH SCULPTURE CENSUS - French sculpture 1500-1960 in North American public collections
Citations
Sources
(Online Essay)
Further reading
Corbett, Rachel (2016). You Must Change Your Life: the Story of Rainer Maria Rilke and Auguste Rodin, New York: W. W. Norton and Company. .
Sanyal, Narayan (1984). Rodin, Dey's Publishing Company, Kolkata. .
Vincent, Clare. "Auguste Rodin (1840–1917)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2004)
Tobias G. Natter, Max Hollein (Eds.): Klimt & Rodin: An Artistic Encounter. DelMonico Books – Prestel Publishing, Munich e. a. 2017, ISBN 978-3-7913-5708-9.
External links
Musée Rodin, Paris
Friends of Rodin, association organizing for its members events around Auguste Rodin
Rodin Museum, Philadelphia
Rodin Wing - Guide at the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan
Auguste Rodin at the National Gallery of Art
Rodin Collection, Stanford University
Auguste Rodin: Timeline of Art History Metropolitan Museum of Art
Rodin Exhibition at the Brooklyn Museum Nov 1987 – Jan 1988
Rodin at the Victoria and Albert Museum
Correspondence with Walter Butterworth held at the University of Salford
Public Art Fund: Rodin at Rockefeller Center
Video documentary about Rodin's work
Works by Rodin in the Simonow Collection - Abbaye de Flaran, France
(by Ranier Maria Rilke, trans. by Jessie Lemont & Hans Trausil)
Portrait of Auguste Rodin by Alphonse Legros at University of Michigan Museum of Art
Exhibition catalogue, Auguste Rodin: Intimate Works'', Jill Newhouse Gallery, March 2011
Category:1840 births
Category:1917 deaths
Category:19th-century French sculptors
Category:20th-century French sculptors
Category:Sculptors from Paris
Category:French male sculptors
Category:French printmakers
Category:Grand Officers of the Legion of Honour
Category:French modern sculptors
Category:People of the French Third Republic
Category:People of the July Monarchy
Category:Camille Claudel
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Auguste Rodin
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Table of Content
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Short description, Biography, Formative years, Artistic independence, Works, Early figures: the inspiration of Italy, ''The Gates of Hell''
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Ann Arbor, Michigan
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Short description
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Ann Arbor is a city in Washtenaw County, Michigan, United States, and its county seat. The 2020 census recorded its population to be 123,851, making it the fifth-most populous city in Michigan. Located on the Huron River, Ann Arbor is the principal city of its metropolitan area, which encompasses all of Washtenaw County and had 372,258 residents in 2020. Ann Arbor is included in the Detroit–Warren–Ann Arbor combined statistical area and the Great Lakes megalopolis.
Ann Arbor was founded in 1824 by John Allen and Elisha Rumsey. It was named after the wives of the village's founders, both named Ann, and the stands of bur oak trees they found at the site of the town. The University of Michigan was established in Ann Arbor in 1837, and the city's population grew at a rapid rate in the early to mid-20th century.
A college town, Ann Arbor is currently home to the University of Michigan, which significantly shapes the city's economy, employing about 30,000 workers which includes about 12,000 in its medical center. The city's economy is also centered on high technology, with several companies drawn to the area by the university's research and development infrastructure. The city has been a center for progressive politics as well as several social and religious movements.
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Ann Arbor, Michigan
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History
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History
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Ann Arbor, Michigan
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Before founding as Ann Arbor
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Before founding as Ann Arbor
The region was once inhabited by several Native American tribes, the most prominent being the Anishinaabe people of the Three Fires: the Odawa, Ojibwe, and Potawatomi. The Potawatomi founded two villages in the area of what is now Ann Arbor in about 1774. Other tribes that inhabited the area included the Meskwaki, Wyandots, and Sauk. These peoples established several trails that converged on present-day Ann Arbor. The land that included Washtenaw County was ceded to the U.S. by the Odawa, Ojibwe, Potawatomi, and Wyandot in the Treaty of Detroit of 1807.
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Ann Arbor, Michigan
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19th century
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19th century
Ann Arbor was founded in 1824 by land speculators John Allen and Elisha Walker Rumsey. On May 25, 1824, the town plat was registered with Wayne County as the Village of Annarbour, the earliest known use of the town's name.Marwil, p. 1 Allen and Rumsey decided to name it for their wives, both named Ann, and for the stands of bur oak in the of land they purchased for $800 () from the federal government at $1.25 per acre.Marwil, pp. 1–2 The local Ojibwa named the settlement , after the sound of Allen's sawmill.
Ann Arbor became the seat of Washtenaw County in 1827Marwil, p. 4 and was incorporated as a village in 1833.Marwil, p. 7 The Ann Arbor Land Company, a group of speculators, set aside of undeveloped land and offered it to the state of Michigan as the site of the state capitol, but lost the bid to Lansing. In 1837, the property was accepted instead as the site of the University of Michigan.Marwil, p. 13
thumb|left|Main Street in Ann Arbor |alt=A black-and-white photograph of Main Street in Ann Arbor
thumb|left|President Grover Cleveland at the Ann Arbor station in 1892, with a crowd that included Mayor William Doty and University President James B. Angell|alt=A black-and-white photograph of a crowd of men are standing in a semi-circle around Grover Cleveland. A train car is visible in the top-left corner of the photograph.
Since the university's establishment in the city in 1837, the histories of the University of Michigan and Ann Arbor have been closely linked. The town became a regional transportation hub in 1839 with the arrival of the Michigan Central Railroad, and a north–south railway connecting Ann Arbor to Toledo and other markets to the south was established in 1878.Marwil, p. 49 Throughout the 1840s and the 1850s settlers continued to come to Ann Arbor. While the earlier settlers were primarily of British ancestry, the newer settlers also consisted of Germans, Irish,Marwil, p. 16 and Black people. In 1851, Ann Arbor was chartered as a city, though the city showed a drop in population during the Depression of 1873. It was not until the early 1880s that Ann Arbor again saw robust growth, with new immigrants from Greece, Italy, Russia, and Poland.
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Ann Arbor, Michigan
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20th century
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20th century
Ann Arbor saw increased growth in manufacturing, particularly in milling. Ann Arbor's Jewish community also grew after the turn of the 20th century, and its first and oldest synagogue, Beth Israel Congregation, was established in 1916.
Following a 1956 vote, the city of East Ann Arbor merged with Ann Arbor to encompass the eastern sections of the city.
In 1960, Ann Arbor voters approved a $2.3 million bond issue (equivalent to $ million in ) to build the current city hall, which was designed by architect Alden B. Dow. The City Hall opened in 1963. In 1995, the building was renamed the Guy C. Larcom Jr. Municipal Building in honor of the longtime city administrator who championed the building's construction.
During the 1960s and 1970s, the city gained a reputation as an important center for liberal politics. Ann Arbor also became a locus for left-wing activism and anti-Vietnam War movement, as well as the student movement. The first major meetings of the national left-wing campus group Students for a Democratic Society took place in Ann Arbor in 1960; in 1965, the city was home to the first U.S. teach-in against the Vietnam War.Marwil, p. 153 During the ensuing 15 years, many countercultural and New Left enterprises sprang up and developed large constituencies within the city. These influences washed into municipal politics during the early and mid-1970s when three members of the Human Rights Party (HRP) won city council seats on the strength of the student vote. During their time on the council, HRP representatives fought for measures including pioneering antidiscrimination ordinances, measures decriminalizing marijuana possession, and a rent-control ordinance.
thumb|left|Ann Arbor station in 1975|alt=A photograph of a train and several tracks of railroad in front of the Ann Arbor station.
Two religious-conservative institutions were created in Ann Arbor; the Word of God (established in 1967), a charismatic inter-denominational movement; and the Thomas More Law Center (established in 1999). Since 1998, Ann Arbor is also the home office of the Anthroposophical Society in the United States, an organization dedicated to supporting the community of those interested in the inner path of schooling known as anthroposophy, developed by Rudolf Steiner..
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Ann Arbor, Michigan
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21st century
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21st century
In the past several decades, Ann Arbor has grappled with the effects of sharply rising land values, gentrification, and urban sprawl stretching into outlying countryside. On November 4, 2003, voters approved a greenbelt plan under which the city government bought development rights on agricultural parcels of land adjacent to Ann Arbor to preserve them from sprawling development. Since then, a vociferous local debate has hinged on how and whether to accommodate and guide development within city limits. Ann Arbor consistently ranks in the "top places to live" lists published by various mainstream media outlets every year.
thumb|ProQuest's headquarters on Eisenhower Parkway in Ann Arbor|alt=See caption
In 2016, the city changed mayoral terms from two years to four. Until 2017, City Council held annual elections in which half of the seats (one from each ward) were elected to 2-year terms. These elections were staggered, with each ward having one of its seats up for election in odd years and its other seat up for election in even years. Beginning in 2018 the city council has had staggered elections to 4-year terms in even years. This means that half of the members (one from each ward) are elected in presidential election years, while the other half are elected in mid-term election years. To facilitate this change in scheduling, the 2017 election elected members to terms that lasted 3-years.
In 2020, partly as a response to the COVID-19 pandemic, the city government opened several downtown streets to pedestrians, limiting their use by motor vehicles to emergency vehicles during summertime weekends. In addition to providing a large pedestrian mall, these changes allow restaurants to use more of the sidewalks and part of the street for outdoor seating. These changes were popular enough that in 2021 the city council extended the dates from March to November, continuing the schedule of cordoning off cars from Thursday evening until Monday morning.
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