COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1985.R.12
amicoid
DMA_.1985.R.12
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Drawings and Watercolors
oty
Drawings and Watercolors
Object Type
false
Creator Name:
Cezanne, Paul
crn
Cezanne, Paul
Creator Name
false
Creator Dates/Places:
French, 1839 - 1906
cdt
French, 1839 - 1906
Creator Dates/Places
false
Creator Name-CRT:
Paul Cezanne
crt
Paul Cezanne
Creator Name-CRT
false
Title:
Still Life with Apples on a Sideboard
otn
Still Life with Apples on a Sideboard
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1900-1906
oct
1900-1906
Creation Date
false
Creation Start Date:
1900
ocs
1900
Creation Start Date
false
Creation End Date:
1906
oce
1906
Creation End Date
false
Materials and Techniques:
Watercolor
omd
Watercolor
Materials and Techniques
false
Dimensions:
Overall: 18 7/8 x 24 3/4 x 5 in. (47.94 x 62.86 x 12.7 cm.) Framed dimensions: 35 1/4 x 43 in. (89.53 x 109.22 cm.)
met
Overall: 18 7/8 x 24 3/4 x 5 in. (47.94 x 62.86 x 12.7 cm.) Framed dimensions: 35 1/4 x 43 in. (89.53 x 109.22 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1985.R.12
ooa
1985.R.12
ID Number
false
Credit Line:
Dallas Museum of Art, The Wendy and Emery Reves Collection
ooc
Dallas Museum of Art, The Wendy and Emery Reves Collection
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
Rodin's "The Thinker" (Musée Rodin, Paris) and Jean-Baptiste Carpeaux's "Ugolino and His Sons" were the most famous French sculptures of the 19th century. The relationship between the two is direct, and there is little doubt that Rodin intended to quote Carpeaux's masterpiece when creating the central image for his unfinished work "The Gates of Hell" (final assembly 1917, Musée Rodin, Paris).Carpeaux created "Ugolino and His Sons" in Rome, where he was working with financial assistance from the French government; he exhibited the large version in the official Salon of 1861. By 1867, the image had become so popular that the sculptor decided to create various smaller versions, including a sublime bronze reduction, a rare early cast of which is in the collection of the Dallas Museum of Art. He also seemed fascinated with the reproduction of his clay and plaster studies for the final work. The Reves plaster is probably based on an earlier study for the full-scale Salon sculpture. In the final version, Carpeaux included three of Ugolino's sons, who seem to offer themselves to their brooding father, who, as we know from Dante, consumes them so that he can live. In the Reves plaster, only two of the sons are shown, suggested to some scholars that this work was made in preparation for the final composition.Unfortunately, it is impossible to conclude that the Reves plaster was among those made in Rome when Carpeaux as completing his conception of this masterpiece. It seems likely that this plaster was made in the late 1860s or early 1870s, when Carpeaux allowed many bronzes and plasters of his famous figure to be cast for the art market. The white plaster was tinted with a dull reddish brown, undoubtedly so that it would appear to be a terracotta produced in the artist's Roman studio as he finalized the composition. As an apparent study, it has the status of a "sketch," and the artist's subtlest processes of thought are caught forever in plaster.Interestingly, Rodin owned a plaster cast of Carpeaux's "Ugolino and His Sons." He seems to have acquired it in the late 1860s or early 1870s and used it as the basis for a group of drawings made in the 1870s. He used these in conjunction with the plaster itself as the basis for his monumental male nude, "The Thinker.""Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 23
cxd
Rodin's "The Thinker" (Musée Rodin, Paris) and Jean-Baptiste Carpeaux's "Ugolino and His Sons" were the most famous French sculptures of the 19th century. The relationship between the two is direct, and there is little doubt that Rodin intended to quote Carpeaux's masterpiece when creating the central image for his unfinished work "The Gates of Hell" (final assembly 1917, Musée Rodin, Paris).Carpeaux created "Ugolino and His Sons" in Rome, where he was working with financial assistance from the French government; he exhibited the large version in the official Salon of 1861. By 1867, the image had become so popular that the sculptor decided to create various smaller versions, including a sublime bronze reduction, a rare early cast of which is in the collection of the Dallas Museum of Art. He also seemed fascinated with the reproduction of his clay and plaster studies for the final work. The Reves plaster is probably based on an earlier study for the full-scale Salon sculpture. In the final version, Carpeaux included three of Ugolino's sons, who seem to offer themselves to their brooding father, who, as we know from Dante, consumes them so that he can live. In the Reves plaster, only two of the sons are shown, suggested to some scholars that this work was made in preparation for the final composition.Unfortunately, it is impossible to conclude that the Reves plaster was among those made in Rome when Carpeaux as completing his conception of this masterpiece. It seems likely that this plaster was made in the late 1860s or early 1870s, when Carpeaux allowed many bronzes and plasters of his famous figure to be cast for the art market. The white plaster was tinted with a dull reddish brown, undoubtedly so that it would appear to be a terracotta produced in the artist's Roman studio as he finalized the composition. As an apparent study, it has the status of a "sketch," and the artist's subtlest processes of thought are caught forever in plaster.Interestingly, Rodin owned a plaster cast of Carpeaux's "Ugolino and His Sons." He seems to have acquired it in the late 1860s or early 1870s and used it as the basis for a group of drawings made in the 1870s. He used these in conjunction with the plaster itself as the basis for his monumental male nude, "The Thinker.""Impressionist Paintings Drawings and Sculpture from the Wendy and Emery Reves Collection," page 23
Context
false
Related Image Identifier Link:
DMA_.1985_R_12.tif
ril
DMA_.1985_R_12.tif
Related Image Identifier Link
false