tailieunhanh - French Sculpture Daumier, Carpeaux, Rodin...

For my graduate research in Anton Zeilinger’s experimental physics group [7] in Vienna I participated in an experiment that successfully demonstrated quantum behavior for the heaviest particles ever, by sending them – as quantum mechanical matter waves – through a double-slit experiment [8]. The particles were C60 buckminsterfullerenes (or buckyballs for short), named after their resemblance to architect Buckminster Fuller’s geodesic domes [9]. Consisting of sixty carbon atoms, buckyballs have the shape of a truncated. | French Sculpture Daumier Carpeaux Rodin. Presentation Targeted public Objectives Before and after the visit The visit the artworks Bibliography Presentation This visit provides an introduction to French sculpture in the greater part of the 19th century beginning in 1830 with Honoré Daumier through Jean-Baptiste Carpeaux and Auguste Rodin right up to the first years of the 20th century with Émile Bourdelle and Joseph Bernard. This period was particularly fruitful producing sculptures destined for the outdoors as well as indoors for faẹades fountains squares gardens and cemeteries. From 1880 onwards the rise of monumental sculpture was such that the word statue-mania has been coined to describe the era. However despite its variety of subjects and techniques and the scope of its achievements interest for the sculpture of the epoch has been largely deflected by the beguiling turmoil which was taking place at the same time in the world of painting especially the advent of impressionism in the 1870 s-1880 s. Traditional subjects and new sources of inspiration Sculpture retained its traditional themes subjects derived from mythology such as the classical allegories of dance music theatre. but with new interpretations. Many artists Barye Fremiet. continued the tradition of animal sculpture which was flourishing. The main developments occurred in the representation of people. With the fall of the monarchy and the secularisation of the State images of saints and royalty were no longer being produced. The 19th century tended to replace these with public sculptures of important persons whose success was rather due to their own personal merit the statues represented great men who were exemplary in terms of civic virtues and who were to be seen as figure-heads for the society as a whole. Whether the subjects of the statues were heroes from Classical or contemporary times they most often embodied the idea of progress humanity on the march and the victory of reason . A good .