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George Washington Jean-Antoine Houdon.

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Presentation on theme: "George Washington Jean-Antoine Houdon."— Presentation transcript:

1 George Washington Jean-Antoine Houdon

2 George Washington Jean-Antoine Houdon 1788-1792 Marble 6’ 2” high
State Capitol, Richmond, VA

3 Sources Kleiner, Fred S. Gardner’s Art Through the Ages. Boston: Cengage Learning, Print. Hecht, Johanna. “Jean-Antoine Houdon.” The Metropolitan Museum of Art, Web. 5 August < _jahd.htm>. Khan Academy. “Houdon, George Washington.” Khan Academy, Web. 5 August < t-americas/british-colonies/early- republic/a/houdon-george-washington>.

4 Jean-Antoine Houdon Sculptor from the French Enlightenment period
Known by contemporaries for portraiture Born son of servant in household where an elite preparatory school for French art scholars was established Apprenticed to the sculptor Slodtz, and later won the scholarship (Prix de Rome) to study sculpture in Rome (1761) Returns to Paris and displays works at salons Gains several reputable patrons, including Diderot and Catherine II of Russia (one of many foreign royal patrons) Sculpts portraits of influential individuals, such as Rousseau and Voltaire, but also of children, including his own three daughters

5 Influences Formative years: late Baroque style popular in France
Formal study in Italy: Roman antiquities and high Baroque style of Bernini Naturalism of the Enlightenment Houdon showed some variety in his style Winter 1787 Bust of Voltaire 1778

6 Stylistic Characteristics
Composition is balanced and orderly Emphasis on naturalism (physical accuracy in portraiture) Texture is smooth Calm, upright pose conveys stillness and poise Frontal orientation Scale is life-size

7 Materials and Techniques
Marble (other works in terracotta and bronze) Took detailed measurements of Washington’s body and sculpted a life mask of the President’s face in preparation Often modeled in clay first

8 Major Works Vestal L’Ecorche (Flayed Man) (right) Diana
Various portraits, including Diderot, Catherine II of Russia, Sophie Arnould (soprano), Benjamin Franklin, Thomas Jefferson

9 Title/Form/Original Context/Site
George Washington Full-scale sculpture Commissioned by the Governor of Virginia to be erected at the State Capitol in Richmond, VA These examples of public art became commonplace throughout the states

10 Intended Purpose/Motivation/Patron/Audience
Purpose is to commemorate the American Revolution (many state governments were commissioning public art for this purpose) Houdon is selected by Jefferson (a known Francophile) in part because talent in the colonies was lacking (Houdon had also already sculpted Franklin) Houdon is considered best Neoclassical sculptor in Europe by the mid 1780s (Neoclassicism was widely favored in Colonial America)… think: Monticello Audience: Virginians and visitors to the state capitol

11 Decision-making 18th-century clothing (Washington’s request) places Washington with contemporaries while there are also clear references to the Roman Republic Roman fasces 13 rods symbolize the 13 original states Plow behind Washington alludes to Cincinnatus Badge of Society of the Cincinnati: association of revolutionary army officers who had resumed peacetime roles following the war Sword v. gentleman’s stick

12 Fasces Badge of Cincinnati Walking stick

13 Innovation/Change The choice to depict Washington in contemporary dress as opposed to the more classical Roman attire, but coupled with classical symbols Eyes carved out… watching the viewer

14 Convention/Tradition
Material used is characteristic of the Neoclassical style Free standing sculpture and themes exemplified are also traditional characteristics of neoclassical sculpture Pose reminiscent of Doryphoros Symbolic references to antiquity Roman portraits were realistic (bust of Cicero)

15 Themes Power/authority Republicanism Strength through unity (fasces)

16 Comparisons Greenough’s George Washington (1840)
Much more monumental version of Washington Impressive proportions: seated figure is 11 feet tall Almost deified as he sits on his throne, similar to the depiction of Zeus by the Greek sculptor Phidias

17 Comparisons Crawford’s George Washington (c. 1850)
Marble bust with drapery Conveys a “timeless” hero (drapery transcends time)… a hero for all ages Modeled head on Houdon’s earlier bust of Washington Closely followed facial structure and details (including wattle)

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