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                  <text>Medievalism at the Foundations</text>
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                  <text>This Collection illustrates how medievalism has always existed â€˜in plain viewâ€™ in Australian public life, as a conspicuous cultural memory ghosting Australiaâ€™s modernity. It focuses on discourses about, debates over, and changing interpretations of i) Australiaâ€™s medievalist political and religious institutions and rituals, ii) its architecture, and iii) its civic environment. In this Collection are items relating to all three of these key areas. Firstly, you will find items that point to the medieval influences and inflections that still permeate and influence our political, legal and religious institutions and traditions. Secondly, you will find numerous examples of neo-gothic and neo-romanesque architecture, and some cases where architectural features are known to have been modelled on specific medieval buildings. Thirdly, you will find items relating to the ways in which medievalism is incorporated into our civic environments and expressed through statues, monuments and war memorials.</text>
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              <text>&lt;p&gt;To view this image,&lt;/p&gt;&#13;
&lt;p&gt;1.&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; go to: &lt;a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp" target="_blank"&gt;http://www.artgallery.sa.gov.au/agsa/home/Collection/CollectionSearch.jsp&lt;/a&gt;&lt;/p&gt;&#13;
2.&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp; search by artist or title. &lt;br /&gt;</text>
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                <text>Virgin of the Offering</text>
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                <text>Alsace, bronze, Christ, Christianity, Ã‰mile-Antoine Bourdelle (1861-1929), gothic, infant Jesus, Jesus, Madonna, Mary, model, Niederbruck, religious sculpture, Romanesque, sculpture, SA, South Australia, virgin, virgin and child</text>
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                <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;This work by French sculptor &lt;/span&gt;&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;&amp;Eacute;mile-Antoine Bourdelle was gifted to the Art Gallery of South Australia by William Bowmore AO OBE, through the Art Gallery of South Australia Foundation in 1994. It is a 2.5m tall bronze sculpture of the Virgin Mary holding the infant Jesus aloft. Along with similar sculptures held by the National Museum of Western Art in Tokyo and the National Galleries of Scotland (titled La Vierge d&amp;rsquo;Alsace), this work appears to be a model for Bourdelle&amp;rsquo;s much larger 6m tall stone carving of the subject, which was completed in 1922 and is situated on a hill in Niederbruck, Alsace, France. Bourdelle studied sculpture at the &amp;Eacute;cole des Beaux-Arts in Paris after training as a wood-carver with his father, and entered Rodin&amp;rsquo;s studio as a practitioner in 1893. He incorporated both subjects&amp;nbsp;and techniques from Ancient Greek and medieval sculpture into his work. In &amp;lsquo;Virgin and the Offering&amp;rsquo;, his admiration of gothic and medieval religious art is evident in his choice of subject, while his use of simplified forms is reminiscent of earlier Romanesque sculpture. On the Gothic and Romanesque influences of Bourdelle&amp;rsquo;s work, see the catalogue description of NG Scotland&amp;rsquo;s La Vierge d&amp;rsquo;Alsace at: &lt;a href="http://www.nationalgalleries.org/object/GMA%202" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.nationalgalleries.org/object/GMA 2&lt;/span&gt;&lt;/a&gt;.&lt;/span&gt;</text>
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                <text>Bourdelle, Ã‰mile-Antoine</text>
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                <text>Art Gallery of South Australia</text>
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                <text>1921</text>
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                <text>Art Gallery of South Australia</text>
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                <text>Bronze Sculpture, 250 x 90 x 70cm; Hyperlink</text>
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        <name>Ã‰mile-Antoine Bourdelle (1861-1929)</name>
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                  <text>This Collection illustrates how medievalism has always existed â€˜in plain viewâ€™ in Australian public life, as a conspicuous cultural memory ghosting Australiaâ€™s modernity. It focuses on discourses about, debates over, and changing interpretations of i) Australiaâ€™s medievalist political and religious institutions and rituals, ii) its architecture, and iii) its civic environment. In this Collection are items relating to all three of these key areas. Firstly, you will find items that point to the medieval influences and inflections that still permeate and influence our political, legal and religious institutions and traditions. Secondly, you will find numerous examples of neo-gothic and neo-romanesque architecture, and some cases where architectural features are known to have been modelled on specific medieval buildings. Thirdly, you will find items relating to the ways in which medievalism is incorporated into our civic environments and expressed through statues, monuments and war memorials.</text>
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              <text>&lt;span&gt;&lt;a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/detail.jsp?ecatKey=4181" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.artgallery.nsw.gov.au/work/349.2001.a-f/&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>The Second Maquette for the Burghers of Calais</text>
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                <text>Andrieu dâ€™Andres, attack, army, Auguste Rodin (1840-1917), bronze, burghers, Calais, cast, commemoration, conflict, Eustache de Saint-Pierre, Hundred Yearsâ€™ War, Jacques de Weissant, Jean dâ€™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</text>
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                <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;"&gt;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 &amp;lsquo;Second Maquette for the Burghers of Calais&amp;rsquo; from which it was cast is currently housed in the Mus&amp;eacute;e 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&amp;rsquo;s other citizens when Calais fell to the English King, Edward III, during the Hundred Years&amp;rsquo; War in 1347. The figures are Pierre de Weissant, Jean d&amp;rsquo;Aire, Eustache de Saint-Pierre, Jacques de Weissant, Andrieu d&amp;rsquo;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: &lt;a href="http://www.artgallery.sa.gov.au/agsa/home/Collection/detail.jsp?ecatKey=4181" target="_blank"&gt; &lt;span style="color: #0000ff;"&gt;http://www.artgallery.nsw.gov.au/work/349.2001.a-f/&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Rodin, Auguste</text>
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                <text>Art Gallery of New South Wales: accession number 349.2001.a-f.</text>
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                <text>Modelled 1885; Cast 1972</text>
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                <text>Art Gallery of New South Wales</text>
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                <text>Bronze Sculpture. 6 separate pieces, each measuring between 60.5 and 70 cm.;&#13;
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