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vertumnus and pomona claudel

Flickr photos, groups, and tags related to the "vertumnus" Flickr tag. Pomona, the beautiful wood nymph cared nothing for the woods but cared only for her fruit filled gardens and orchards. Claudel decided that her first major project would be an ambitious piece celebrating the triumph of love. Vertumnus and Pomona - A Myth with a Moral Many of the ancient Myth Stories, like the legend of Vertumnus and Pomona, incorporate tales with morals that provided the old story-tellers with short examples of exciting tales for kids and children of how to act … 14,622-771) met. This sculpture was executed in various media and was given various titles. Wir verkaufen keine Massenware, sondern produzieren mit Liebe zum Detail individuell gefertigte Meisterwerke. In 1952, Paul Claudel donated this marble sculpture to the Musée Rodin.[2]. These terracotta studies were sold in 2017, with one bought by the Musée d'Orsay in 2017 for €467,800,[5] and the second sold for €65,000. She completed a fully realised plaster version of the sculpture in 1888, which became an important milestone in the recognition of Claudel as a talented artist in her own right. Also in 1905, bronze versions were cast for Eugène Blot [fr], with one cast shown the Salon d'Automne in 1905 entitled L'Abandon. "Vertumnus and Pomona"; by Camille Claudel (1905, marble) Musée Rodin, Paris (#187745) [9], Claudel's plaster sculpture may have been influenced by Rodin's 1882 sculpture The Kiss (Le baiser) and his c.1884 Eternal Springtime (L'Éternel Printemps), but in turn it inspired Rodin's 1890-93 sculpture The Eternal Idol (L'Eternelle idole), and there are further echoes in his 1889 L'homme et sa pensée. It was retitled Vertumnus and Pomona, referring to the characters from Greek mythology, Pomona and Vertumnus, whose tale is recounted in Ovid's Metamorphoses. A third large bronze of L’Abandon from the private collection of Camille's sister, Louise Claudel, was sold for €1,187,000 at Artcurial in Paris in 2017, in the same sale as the two c.1886 terracotta studies. Full of intensity and emotion, this group is a marvel of affection and modest sensuality. One of the large bronze casts (#2) was sold at Christie's in 2013 for £1,071,650,[12] and another (#15) was put up for sale Sotheby's in 2014. Ein Fest der Pomona ist in den Kalendern nicht belegt, es gab aber einen Flamen der Pomona, den Flamen Pomonalis, einen der zwölf flamines minores, was sowohl für Alter als auch Bedeutung des Kultes spricht. She sculpted two big figures evoking a legendary Indian tale of Shakuntala by the poet Kalidasa. [6][7][8], In connection with her early work on the piece, on 8 November 1889 Claudel wrote to her friend Florence Jeans: "I’m now working on my two larger-than-life figures and I have two models per day: a woman in the morning, a man in the evening. Sakuntala, also known as Sakountala or Çacountala , is a sculpture by the French artist Camille Claudel, made in several versions in different media from 1886, with a marble version completed in 1905, and bronze castings made from 1905. Her brother Paul was particularly annoyed at any comparison with The Kiss as he considered Sakuntala to be far superior. Pomona fenced her garden so the rude young men couldn't trample her plants and vines. Rodin, with assistance from Gustave Geffroy, sought a government commission for a marble version of Sakuntala in 1895, but a commission failed to materialise. (#221761) [2][3] L'Abandon has been described as "one of the most famous and recognised masterpieces created by Camille Claudel". It is impossible to imagine anything more ardent and at the same time more chaste". POMONA AND VERTUMNUS. Once, when the kings of the Silvian House reigned over the Latin people, there lived a nymph whose name was Pomona. Vertumnus and Pomona | Rodin Museum. She yields, blind, mute, weighted down, succumbing to the gravity that is love; one of her arms hangs down like a branch broken by its fruit, the other covers her breasts and protects this heart, the supreme sanctuary of virginity. Passion and desire are expressed with propriety and restraint. The large work measured 190 cm × 110 cm × 60 cm (75 in × 43 in × 24 in), and was a critical success when exhibited at the Salon des Artistes Français in 1888, winning an honourable mention, but no commission to create a bronze or marble version was forthcoming. Pomona, eine passionierte Gärtnerin (lat. [15], Teracotta study, c.1886, exhibited at Roubaix, Vertumnus and Pomona, marble, 1905, Musée Rodin, Rodin, L'Eternelle idole, marble, Musée Rodin, 1890-1893, "Shakuntala (Vertumnus and Pomona)1905 by Camille Claudel", "Vertumnus and Pomona: Camille Claudel (1864 -1943)", "1886 - 1893 : Rodin and Camille Claudel: a tumultuous love affair and an impassioned, intense artistic dialogue", "1881-1885 : L'arrivée à Paris et la rencontre avec Auguste Rodin, un tournant décisif", "Camille CLAUDEL Fère-en-Tardenois, 1864 - Montfavet, 1943 Etude II pour "Sakountala", circa 1886", "Camille Claudel: Etude II pour Sakountala", "The Sensual World: Camille Claudel's Sculptures Was Sold For Record Amount", "Camille CLAUDEL Fère-en-Tardenois, 1864 - Montfavet, 1943 Etude I pour "Sakountala", circa 1886", "Camille Claudel: L'Abandon (Sakountala)", "Impressionist/Modern Evening Sale, London", "Camille Claudel Sculptures Smash Auction Records in Paris, Cementing Her Legacy as More Than Rodin's Muse", "Camille Claudel (1864-1943) L'Abandon, grand modèle, circa 1886", https://en.wikipedia.org/w/index.php?title=Sakuntala_(Claudel)&oldid=938701698, Creative Commons Attribution-ShareAlike License, This page was last edited on 1 February 2020, at 21:23.

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