Adam and Eve (Adam et Ève)
Adam, Albert Bartholomé (1848-1928), art, biblical, Brancacci Chapel, bronze, cast, Eve, exile, expulsion, Expulsion from Paradise, Florence, Masaccio (c.1401-1428), paradise, sculpture, VIC, Victoria
This work by French sculptor Albert Bartholomé was acquired by the National Gallery of Victoria with funds from the Felton Bequest in 1922. It is a bronze sculpture depicting the expulsion of Adam and Eve from Paradise. It has been dated to 1905, although the work from which it was cast was probably finished by 1899. The figures of Adam and Eve are believed to be modelled on Masaccio’s fresco, Expulsion from Paradise, (c.1426-1428) in the Brancacci Chapel, Florence (See Ted Gott et al, 19th Century Painting and Sculpture in the International Collections of the National Gallery of Victoria, Melbourne, National Gallery of Victoria, 2003, p.112).
Bartholomé, Albert
National Gallery of Victoria
National Gallery of Victoria
cast 1905
National Gallery of Victoria
Bronze sculpture, 139.8 x 54.7 x 64.6cm;
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The Second Maquette for the Burghers of Calais
Andrieu d’Andres, attack, army, Auguste Rodin (1840-1917), bronze, burghers, Calais, cast, commemoration, conflict, Eustache de Saint-Pierre, Hundred Years’ War, Jacques de Weissant, Jean d’Aire, Jean de Fiennes, King Edward III of England (1312-1377), King Philip VI of France (1293-1350), maquette, medieval war, model, New South Wales, NSW, Pierre de Weissant, plaster, sculpture, siege, Siege of Calais (1347), surrender, war, warfare
<span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;">This piece from the Art Gallery of New South Wales collection is one of 12 bronze sculptures cast from a plaster sculpture created by Rodin in 1885. The original ‘Second Maquette for the Burghers of Calais’ from which it was cast is currently housed in the Musée Rodin in Paris. The sculpture features six separate figures ranging in size from 60.5cm to 70 cm. Rodin was commissioned in 1884 to produce a monument commemorating the bravery of six Calais burghers who were prepared to sacrifice themselves to save the city’s other citizens when Calais fell to the English King, Edward III, during the Hundred Years’ War in 1347. The figures are Pierre de Weissant, Jean d’Aire, Eustache de Saint-Pierre, Jacques de Weissant, Andrieu d’Andres and Jean de Fiennes. His first maquette features all of the figures on a shared base, whereas the second consists of six separate figures. For more information, see the accompanying notes on the Gallery of New South Wales website: <a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/detail.jsp?ecatKey=4181" target="_blank"> <span style="color: #0000ff;">http://www.artgallery.nsw.gov.au/work/349.2001.a-f/</span></a></span>
Rodin, Auguste
Art Gallery of New South Wales: accession number 349.2001.a-f.
Modelled 1885; Cast 1972
Art Gallery of New South Wales
Bronze Sculpture. 6 separate pieces, each measuring between 60.5 and 70 cm.;
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"Saint Joan"
Albert Chevalier, Atholl Fleming (1984-1972), Battle, Bishop of Beauvais, Bluebeard, British stage, Bruce Winston, canonisation, Captain La Hire, cast, characters, Charles VII, Charles de Ponthieu (1403-1461), Christopher Casson (1912-1996), Dauphin, Donald Eccles (1908-1986), drama, Dunois, Earl of Warwick, George Bernard Shaw (1856-1950), Hilda Davies, His Majesty’s Theatre, Hundred Years’ War (1336-1453), Inquisitor, Jeanne d’Arc, Joan of Arc (1412-1431), Ladvenu, Leonard Bennett, Lewis Casson (1875-1969), maid of Orléans, medieval France, Michael Martin-Harvey (1897-1975), New Theatre, Page, Perth, play, Poulengey, Rheims Cathedral, Robert de Baudricourt, Rouen, Saint Joan, “Saint Joanâ€, St. Joan, St Joan, saint, saints, stage, Sybil Thorndike (1882-1976), T. Tracy, theatre, theatrical production, trial, warrior, Zillah Carter (1864-1941)
<p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="font-size: 10pt;">This article from the Sunday Times provides a positive review of George Bernard Shaw’s “Saint Joan”, which premiered in Australia at His Majesty’s Theatre in 1932. “Saint Joan” is a play based on the life (Scenes 1-5), trial (scene 6) and canonisation (Epilogue) of Joan of Arc. The play’s depiction of medieval France is praised by the reviewer as vivid and realistic. For a copy of Shaw’s “Saint Joan”, see <a href="http://gutenberg.net.au/ebooks02/0200811h.html" target="_blank"><span style="color: #0000ff;">http://gutenberg.net.au/ebooks02/0200811h.html</span></a>. </span></p>
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<p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="font-size: 10pt;">About Joan of Arc:</span></p>
<p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;"><span style="font-size: 10pt;"><br /> Joan of Arc was born in 1412 in the French village of Domrémy. From the age of about 12, Joan had visions of saints and heard heavenly voices that increasingly urged her to fight for France during the Hundred Years’ War. She travelled to the court of Charles De Ponthieu, the Orléanist claimant to the throne, where she was provided with a suit of armour and her distinctive banner depicting a golden fleur-de-lys. She secured a decisive military victory to rescue the city of Orléans from the Earl of Salisbury’s English army in 1429, and was present at the coronation of Charles VII. However, in May the following year Joan was captured by Burgundian forces at Compiègne, and was handed over to the English. She was tried at Rouen on charges of witchcraft and heresy, and was condemned to death. On 30 May 1431, she was executed. Two and a half decades later, the case was appealed and her conviction was overturned. She was beatified in 1909 and canonised as a saint in 1920.</span></p>
Anon.
<span><span style="font-family: Tahoma; color: #000000; font-size: x-small;"><span style="font-size: 10pt;">National Library of Australia, </span><span style="font-size: 10pt;" lang="EN"><a href="http://nla.gov.au/nla.news-article58662791" target="_blank"><span style="color: #0000ff;">http://nla.gov.au/nla.news-article58662791</span></a></span></span></span>
The Sunday Times
8 May 1932
National Library of Australia
Digitised Newspaper Article
English
Opossum Gargoyle
animal, cast, Commemorative Courtyard, gargoyle, medieval architecture, memorial, Melbourne, model, opossum, ornamentation, plaster cast, Ray Ewers, sandstone, war, war memorial, water, William Leslie Bowles.
This plaster model for a gargoyle depicts the face of an opossum. The plaster model was created in the studio of William Leslie Bowles in Melbourne with the assistance of sculptor, Ray Ewers. In 1940 and 1941 the plaster cast was used as the template for a stonemason to carve an in-situ sandstone gargoyle in the cloisters of the Commemorative Courtyard of the Australian War Memorial. This plaster cast has a hole in the mouth of the opossum for a spout. Gargoyles were a common feature in medieval architecture. They were used to divert running water away from buildings before drainpipes became commonplace.
Bowles, William Leslie (Artist);
Ewers, Raymond Boultwood (Cast by)
Australian War Memorial
Australian War Memorial
1939
Australian War Memorial
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Photograph