Rodin and America: Influence and Adaptation 1876鈥�1936
Oct 05, 2011 - Jan 01, 2012
The Cantor Arts Center at Stanford University presents a comprehensive exhibition that demonstrates the influence of French sculptor Auguste Rodin (1840鈥�1917) on a generation of American artists. 鈥淩odin and America: Influence and Adaptation 1876鈥�1936,鈥� on view October 5, 2011 鈥� January 1, 2012, includes 132 works. Admission is free.
鈥淔rom the 1890s until his death, Rodin was probably the most famous artist in the Western world,鈥� said Bernard Barryte, the Cantor Arts Center鈥檚 curator of European art. 鈥淗is notoriety made him a focus of adulation and emulation, and for decades he exerted a profound influence on American art.鈥� Exploring Rodin鈥檚 influence, the exhibition and the accompanying catalogue examine works in all media by American artists who responded to Rodin, assimilating, transforming, and finally rejecting ideas that they discovered in his sculptures and drawings. To illustrate the scope and character of this American response, 鈥淩odin and America鈥� features 107 sculptures, drawings, paintings, and photographs by 42 artists from 44 museums, foundations, and private collections throughout the United States. The exhibition also features 25 of Rodin鈥檚 works in bronze, plaster, marble, and watercolor.
鈥淩odin and America鈥� explores the sculptor鈥檚 impact on artists in a systematic and comprehensive fashion. Barryte explains, 鈥淭he broad scope of the investigation is dictated by the fact that nearly every American artist of this period had, at minimum, a Rodin 鈥榤oment,鈥� and this includes such luminaries as Georgia O鈥橩eeffe, Gaston Lachaise, and John Storrs, who became famous for accomplishments made when they passed beyond Rodin鈥檚 influence.鈥� As works by these artists attest, within a decade of the French sculptor鈥檚 death, this crucial, first modernist phase in the development of American art was overshadowed by the trend toward abstraction and other 20th-century movements.
As a result, 鈥淩odin and America鈥� is also an act of rediscovery. The selection of objects highlights an exciting but relatively neglected phase in the history of American art and reacquaints viewers with once renowned masters such as Malvina Hoffman, Lorado Taft, and Gertrude Vanderbilt Whitney. Equally important, it provides new perspectives on works by such innovators as Charles Demuth and photographers Edward Steichen and Alfred Stieglitz.
The works by Rodin represent acquisitions made by prescient collectors in Boston, New York, Chicago, and San Francisco who first contributed to the spread of Rodin鈥檚 influence. These works exemplify the qualities most admired by young American artists鈥攄ynamic form, emotional richness, sensuality, complex surfaces, and the fully realized partial figure.
鈥淩odin and America: Influence and Adaptation 1876鈥�1936鈥� is accompanied by a fully illustrated catalogue featuring essays by eight scholars who examine aspects of the American response to and reaction against Rodin鈥檚 dominating presence. The exhibition and catalogue are made possible by the Robert Mondavi Family Fund, the Terra Foundation for American Art, the Henry Luce Foundation, the Hohbach Family Fund, the Iris and B. Gerald Cantor Foundation, and Cantor Arts Center Members.
鈥淔rom the 1890s until his death, Rodin was probably the most famous artist in the Western world,鈥� said Bernard Barryte, the Cantor Arts Center鈥檚 curator of European art. 鈥淗is notoriety made him a focus of adulation and emulation, and for decades he exerted a profound influence on American art.鈥� Exploring Rodin鈥檚 influence, the exhibition and the accompanying catalogue examine works in all media by American artists who responded to Rodin, assimilating, transforming, and finally rejecting ideas that they discovered in his sculptures and drawings. To illustrate the scope and character of this American response, 鈥淩odin and America鈥� features 107 sculptures, drawings, paintings, and photographs by 42 artists from 44 museums, foundations, and private collections throughout the United States. The exhibition also features 25 of Rodin鈥檚 works in bronze, plaster, marble, and watercolor.
鈥淩odin and America鈥� explores the sculptor鈥檚 impact on artists in a systematic and comprehensive fashion. Barryte explains, 鈥淭he broad scope of the investigation is dictated by the fact that nearly every American artist of this period had, at minimum, a Rodin 鈥榤oment,鈥� and this includes such luminaries as Georgia O鈥橩eeffe, Gaston Lachaise, and John Storrs, who became famous for accomplishments made when they passed beyond Rodin鈥檚 influence.鈥� As works by these artists attest, within a decade of the French sculptor鈥檚 death, this crucial, first modernist phase in the development of American art was overshadowed by the trend toward abstraction and other 20th-century movements.
As a result, 鈥淩odin and America鈥� is also an act of rediscovery. The selection of objects highlights an exciting but relatively neglected phase in the history of American art and reacquaints viewers with once renowned masters such as Malvina Hoffman, Lorado Taft, and Gertrude Vanderbilt Whitney. Equally important, it provides new perspectives on works by such innovators as Charles Demuth and photographers Edward Steichen and Alfred Stieglitz.
The works by Rodin represent acquisitions made by prescient collectors in Boston, New York, Chicago, and San Francisco who first contributed to the spread of Rodin鈥檚 influence. These works exemplify the qualities most admired by young American artists鈥攄ynamic form, emotional richness, sensuality, complex surfaces, and the fully realized partial figure.
鈥淩odin and America: Influence and Adaptation 1876鈥�1936鈥� is accompanied by a fully illustrated catalogue featuring essays by eight scholars who examine aspects of the American response to and reaction against Rodin鈥檚 dominating presence. The exhibition and catalogue are made possible by the Robert Mondavi Family Fund, the Terra Foundation for American Art, the Henry Luce Foundation, the Hohbach Family Fund, the Iris and B. Gerald Cantor Foundation, and Cantor Arts Center Members.
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The Cantor Arts Center at Stanford University presents a comprehensive exhibition that demonstrates the influence of French sculptor Auguste Rodin (1840鈥�1917) on a generation of American artists. 鈥淩odin and America: Influence and Adaptation 1876鈥�1936,鈥� on view October 5, 2011 鈥� January 1, 2012, includes 132 works. Admission is free.
鈥淔rom the 1890s until his death, Rodin was probably the most famous artist in the Western world,鈥� said Bernard Barryte, the Cantor Arts Center鈥檚 curator of European art. 鈥淗is notoriety made him a focus of adulation and emulation, and for decades he exerted a profound influence on American art.鈥� Exploring Rodin鈥檚 influence, the exhibition and the accompanying catalogue examine works in all media by American artists who responded to Rodin, assimilating, transforming, and finally rejecting ideas that they discovered in his sculptures and drawings. To illustrate the scope and character of this American response, 鈥淩odin and America鈥� features 107 sculptures, drawings, paintings, and photographs by 42 artists from 44 museums, foundations, and private collections throughout the United States. The exhibition also features 25 of Rodin鈥檚 works in bronze, plaster, marble, and watercolor.
鈥淩odin and America鈥� explores the sculptor鈥檚 impact on artists in a systematic and comprehensive fashion. Barryte explains, 鈥淭he broad scope of the investigation is dictated by the fact that nearly every American artist of this period had, at minimum, a Rodin 鈥榤oment,鈥� and this includes such luminaries as Georgia O鈥橩eeffe, Gaston Lachaise, and John Storrs, who became famous for accomplishments made when they passed beyond Rodin鈥檚 influence.鈥� As works by these artists attest, within a decade of the French sculptor鈥檚 death, this crucial, first modernist phase in the development of American art was overshadowed by the trend toward abstraction and other 20th-century movements.
As a result, 鈥淩odin and America鈥� is also an act of rediscovery. The selection of objects highlights an exciting but relatively neglected phase in the history of American art and reacquaints viewers with once renowned masters such as Malvina Hoffman, Lorado Taft, and Gertrude Vanderbilt Whitney. Equally important, it provides new perspectives on works by such innovators as Charles Demuth and photographers Edward Steichen and Alfred Stieglitz.
The works by Rodin represent acquisitions made by prescient collectors in Boston, New York, Chicago, and San Francisco who first contributed to the spread of Rodin鈥檚 influence. These works exemplify the qualities most admired by young American artists鈥攄ynamic form, emotional richness, sensuality, complex surfaces, and the fully realized partial figure.
鈥淩odin and America: Influence and Adaptation 1876鈥�1936鈥� is accompanied by a fully illustrated catalogue featuring essays by eight scholars who examine aspects of the American response to and reaction against Rodin鈥檚 dominating presence. The exhibition and catalogue are made possible by the Robert Mondavi Family Fund, the Terra Foundation for American Art, the Henry Luce Foundation, the Hohbach Family Fund, the Iris and B. Gerald Cantor Foundation, and Cantor Arts Center Members.
鈥淔rom the 1890s until his death, Rodin was probably the most famous artist in the Western world,鈥� said Bernard Barryte, the Cantor Arts Center鈥檚 curator of European art. 鈥淗is notoriety made him a focus of adulation and emulation, and for decades he exerted a profound influence on American art.鈥� Exploring Rodin鈥檚 influence, the exhibition and the accompanying catalogue examine works in all media by American artists who responded to Rodin, assimilating, transforming, and finally rejecting ideas that they discovered in his sculptures and drawings. To illustrate the scope and character of this American response, 鈥淩odin and America鈥� features 107 sculptures, drawings, paintings, and photographs by 42 artists from 44 museums, foundations, and private collections throughout the United States. The exhibition also features 25 of Rodin鈥檚 works in bronze, plaster, marble, and watercolor.
鈥淩odin and America鈥� explores the sculptor鈥檚 impact on artists in a systematic and comprehensive fashion. Barryte explains, 鈥淭he broad scope of the investigation is dictated by the fact that nearly every American artist of this period had, at minimum, a Rodin 鈥榤oment,鈥� and this includes such luminaries as Georgia O鈥橩eeffe, Gaston Lachaise, and John Storrs, who became famous for accomplishments made when they passed beyond Rodin鈥檚 influence.鈥� As works by these artists attest, within a decade of the French sculptor鈥檚 death, this crucial, first modernist phase in the development of American art was overshadowed by the trend toward abstraction and other 20th-century movements.
As a result, 鈥淩odin and America鈥� is also an act of rediscovery. The selection of objects highlights an exciting but relatively neglected phase in the history of American art and reacquaints viewers with once renowned masters such as Malvina Hoffman, Lorado Taft, and Gertrude Vanderbilt Whitney. Equally important, it provides new perspectives on works by such innovators as Charles Demuth and photographers Edward Steichen and Alfred Stieglitz.
The works by Rodin represent acquisitions made by prescient collectors in Boston, New York, Chicago, and San Francisco who first contributed to the spread of Rodin鈥檚 influence. These works exemplify the qualities most admired by young American artists鈥攄ynamic form, emotional richness, sensuality, complex surfaces, and the fully realized partial figure.
鈥淩odin and America: Influence and Adaptation 1876鈥�1936鈥� is accompanied by a fully illustrated catalogue featuring essays by eight scholars who examine aspects of the American response to and reaction against Rodin鈥檚 dominating presence. The exhibition and catalogue are made possible by the Robert Mondavi Family Fund, the Terra Foundation for American Art, the Henry Luce Foundation, the Hohbach Family Fund, the Iris and B. Gerald Cantor Foundation, and Cantor Arts Center Members.
Contact details
Sunday
11:00 AM - 5:00 PM
Wednesday
11:00 AM - 5:00 PM
Thursday
11:00 AM - 8:00 PM
Friday - Saturday
11:00 AM - 5:00 PM
328 Lomita Dr Stanford, CA, USA 94305
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