284 Pages
by
Routledge
282 Pages
by
Routledge
The expression 'the Zola of Sculpture' was coined in the circles of the Royal Academy in the 1880s as a term of abuse. Rodin: 'The Zola of Sculpture' reveals how the appraisal of Rodin in British culture was shaped by controversies around the literary models of Zola and Baudelaire, in a period when negative notions about French culture were being progressively transformed into positive expressions... Read more
Contents: Editor's preface; Introduction: crossing borders, negotiating culture, Claudine Mitchell; Rodin's career in Britain: cultural reception (1880-1912): 'The Zola of sculpture?': a Franco-British dialogue, Claudine Mitchell; The Royal Academy and the Rodin problem, Benedict Read; William Ernest Henley and the launching of Rodin's career, Joy Newton; Rodin and the Baudelairian legacy: Arthur Symons on the sculptor as poet, Claudine Mitchell; Private patronage: Rodin and his early British collectors, Anna Tahinci; The Kiss, or the desire for classical art: The sculptor, the collector and the archaeologist, Bénédicte Garnier; Rodin on classical art, Claudine Mitchell; Rodin: 'The lesson of antiquity', Antoinette Le Normand-Romain; The legacy: changing and conflicting aesthetics: Rodin's conception of the London monument to The Burghers of Calais, Hélène Pinet and Claudine Mitchell; The gift to the British nation: Rodin at the V&A, Claudine Mitchell; Art education in the Rodin circle and women's relation to the avant-garde: the case of Ottilie McLaren, Sîan Reynolds; Substance and shadow: conceptions of embodiment in Rodin and the New Sculpture, Michael Hatt; After Rodin: the problem of the statue in 20th-century sculpture, Penelope Curtis; Further reading (Rodin's career in Britain, 1880-1914); Index.
Biography
Claudine Mitchell
'... the value of this material, supplemented by translated documents and rich footnotes, is undeniable, and a credit to Mitchell's energy.' Catherine Lampert, Art Quarterly
'This is a very valuable book... It not only makes a major contribution to Rodin scholarship but also to the vexed question of modern art in Britain.' David J. Getsy, Oxford Art Journal
