French sculpture in 19th century

The French sculpture of 19th century is the statuary and sculptural production in France between 1801 and 1901. It is characterized by the diversity of currents and styles, from neoclassicism of the early century, in the Art Nouveau and Modernism of the end of the century.

Nineteenth-century French sculpture is marked by a very important production induced by official orders related to urban transformations and the secularization of public life: cities and governments, particularly with Napoleon III and the Third Republic, compete in this area. field. The rise of a wealthy bourgeoisie also participates in the vogue of statuary with private funerary monuments and the taste for small bronze coins which many animal sculptors make a specialty.

Great artists mark the century like François Rude, David of Angers, James Pradier, Antoine-Louis Barye, Albert-Ernest Carrier-Belleuse, Jean-Baptiste Carpeaux, Auguste Bartholdi, Jules Dalou, Auguste Rodin and Camille Claudel.

Several painters have also practiced sculpture, including Honoré Daumier, Gustave Dore, Jean-Leon Gerome, Edgar Degas and Paul Gauguin. Some sculptures of this century have made scandal at their exhibitions, Satyr and Bacchante by Pradier in 1834 Killing of Préault the same year, Woman bitten by a snake of Auguste Clésinger in 1847, Gorilla removing a black woman of Emmanuel Frémiet in 1859, The Carpeaux Dance in 1869, theFourteen-year-old dancer of Degas in 1881, and the Monument to Balzac de Rodin in 1897.

The phenomenon of the French sculpture of the 19th century
The phenomenon of the French sculpture of the 19th century. has attracted contemporaries. The struggle with outdated methods and images of academicism and classicism in the sculpture of the country never ended in a victory on the part of the newest stylistic currents, although it gave its history dramatic. Academism was actively and materially supported by governments and the Paris Academy of Arts, which fueled its existence for a hundred years and recruited into its own ranks an army of artists of various talent. State support for the development of the sculpture has created favorable conditions for it, which was not in any of the then countries. The impetus for it was a campaign for the construction of triumphant and socially significant buildings, the rapid development of capitalist trade in spite of the war and revolution, the practice of world exhibitions, decided upon by the bourgeoisie, is convinced of its own power.

Thus, the sculptor Eugène Guillaume executed in 1867 an order for seven bosom of Napoleon Bonaparte, presented at various periods of his life from his youth to defeat in his political career. It is clear that such a series of sculptures was anachronistic and necessary only for the regular monarchical regime. Sculpture of France 19th century. there was a tangible censorship and political pressure.

An encyclopedic dictionary of Broccuza and Efron even gave a list of the most outstanding sculptures created after a century. In the list fell –

“Jeanne d’Arc senses God’s voice” – bronze, sc. Henry Chapa
“Psyche Abandoned by Eroth” – marble, Carre Bellaz Albert-Ernest
“The Source of Poetry” – marble, sc. Eugene Guillaume
“Girl at the well” – marble, sk. Shaneverk
“Dream” – marble, sk. Maturen Moro
« Gloria victis » – bronze, UK. Antonin Mercier,
“Retary” (gladiator with a grid and trident) Antony Noel

The Allegories of Faith, Love, Courage of the Soldiers and Civic Virtue are four bronze sculptures performed by Paul Dubois for the gravestone of General LaMorisier in Nantes Cathedral.
The list of outstanding sculptures included the “Marseilles” of Ryuda (the best in terms of sculptures of the century), but under the everyday names “The Call to the Battle” or “Speech to the Volunteer Campaign in 1792”, which neutralized its revolutionary content and translated it into a household and politically safe.

Once in the center of the aristocratic district of Paris, “Marseilles” Francois Rhuda stood the exam and central to the French capital, and the exam is at times. The relief became the central work of the sculptor himself, and a significant monumental work of French plastics of the entire 19th century. All this – in contrast to most of the time sculptural products.

However, high estimates of this list of sculptures have long lost their relevance due to the censorship of the dictionary and the small artistic quality of the works themselves. Dictionary pathetically noted –

… the general level of French sculpture during the years of the second empire was tall, and it remains on it until the present day (at the beginning of the 20th century). Due to the fact that the government is almost the only one but an active patron of this branch of art, as well as the existence of the French academy in Rome, France still has a school of sculptors, with which no one of the schools of other countries can compete with regard to the solidity of knowledge, continuity style in composition and performance, diversity and talent strength.
However, such an assessment was merely a representation of the desired one. The evaluation will be rejected and radically revised in the 20th century.

Periods and styles

Neoclassicism
Jean-Antoine Houdon last great representative of sculpture of the 18th century, making the connection between classicism and neoclassicism, continues its activity until 1814 devoting itself mainly to portrait busts, including that of the Emperor Napoleon I to Museum of Fine Arts of Dijon. At the beginning of the century, the Napoleonic era saw consolidate the neo-classicism influenced by the Italian Antonio Canova. At this time the main representatives are Antoine-Denis Chaudet, Pierre Cartellier, Francois Joseph Bosio and Joseph Chinard. This current is expressed mainly with the official orders of the Napoleonic regime, in bas-reliefs, busts, national columns and arches of triumph. It continues after the First Empire with James Pradier sculptor most fashionable under the July Monarchy and which, by its style full of sensuality and oriental inspirations, attempts a synthesis between classicism and romanticism 1. With the late neo-classicism, this current extends to the second Empire, with Eugène Guillaume, Pierre-Jules Cavelier and Gabriel-Jules Thomas.

Joseph Chinard, The Empress Josephine (1808), London, Victoria and Albert Museum.
Antoine-Denis Chaudet, Bust of Napoleon 1 st (1811), Paris, Louvre Museum.
François Joseph Bosio, Hercules (1824), Paris, Louvre Museum.
James Pradier, The Three Graces (1831), Paris, Louvre Museum.
Eugène Guillaume, Instrumental Music (1874), Paris, opera Garnier.

The romantic sculpture
David d’Angers and François Rude are the main representatives of Romanticism in sculpture. This style is characterized by its sense of movement and its impetuousness, illustrated by the famous high relief of the Arc de Triomphe The Departure of the volunteers of 1792 (also called the Marseillaise) elaborated by Rude from 1833 to 1836. David d’Angers will especially distinguish himself through his sculptured portraits, 500 medallions in bas-relief, and several busts of which the monumental one of Goethe is representative. Antoine-Louis Barye in his animal sculptures like The Lion crushing a snake, is comparable to Delacroix with his hunting scenes 3. The romantic sculpture truly emerges at the Salon of 1831, which is particularly exposed the Orlando Furioso of Jehan Duseigneur, which deals with the romantic theme par excellence of love leads to madness with a strong research expressiveness. At the Salon of 1834 Auguste Préault provokes an artistic scandal with its bas-relief Tuerie. Henry de Triqueti and Félicie de Fauveau revive the Italian Renaissance for the first and the Gothic for the second, in this passion for ancient history unveiled classical references to the antique which is another characteristic of romanticism.

David d’Angers, The Great Condé (1817), Angers, David d’Angers Gallery.
François Rude, The Departure of the Volunteers of 1792 (1836), Paris, Arch of triumph of the Star.
Auguste Préault, Tuerie (1834), Museum of Fine Arts, Chartres.
Antoine-Louis Barye, Theseus and the Minotaur, Los Angeles County Museum of Art.

Eclecticism
Eclecticism is the style in vogue under the Second Empire and the Third Republic. As in architecture, it is characterized by the borrowing of different styles of the past, Middle Ages, Renaissance, neo-classicism, neo-baroque. His most famous representative is Jean-Baptiste Carpeaux who synthesizes the Renaissance spirit and the neo-baroque spirit whose first testimony is his Fisherman with the shell. His group Dance for the facade of the Opera Garnier, by its naturalism scandal and was deemed indecent 6. Charles Cordier with his bustsOrientalists wants to introduce a “study of the races” by population portraits of Sudan or the Darfur.

Charles Cordier, Negro of Sudan (1857), Paris, Musée d’Orsay.
Alexandre Falguière, Tarsisius, Christian martyr, (1868), Paris, Musée d’Orsay.
Albert-Ernest Carrier-Belleuse, Sleeping Hebe (1869), Paris, Musée d’Orsay.
Jean-Baptiste Carpeaux, The Dance (1874), Paris, opera Garnier.
Louis-Ernest Barrias, Nature unveiling at Science (1899), Paris, Musée d’Orsay.

Academism
Suitable for monumental statuary and architectural decoration, sculpture academic is characterized by the choice of allegorical and patriotic subjects, and whose style approaches the late neoclassicism. Henri Chapu, pupil of Pradier, is representative of allegorical academism. Another representative of this trend, Georges Récipon whose chariot triumphant harmony of discord of the Grand Palais is also characteristic of the neo-baroque movement.

The so-called neo-Florentine current, which appeared in the 1860s and created a graceful, refined and elegant canonical sculpture, was embodied by Paul Dubois and Toulousans Alexandre Falguière, Antonin Mercié and Laurent Marqueste.

Born in Colmar and marked by the Franco-Prussian war, Frédéric-Auguste Bartholdi produced a statuary devoted to patriotic subjects, The Lion of Belfort, and Vercingetorix of Clermont-Ferrand. He becomes universally famous with the Statue of Liberty. Other sculptors of patriotic monuments, Georges Diebolt creator of the Zouave and Grenadier of the Pont de l’Alma and Emmanuel Frémiet, sculptor of the Joan of Arc of the site of the Pyramids, the equestrian statue of Napoleon, at Laffrey, and the Equestrian Statue of Duguesclin at Dinan.

Jean-Léon Gérôme was one of the academic painters (with Ernest Meissonier), to have also approached the sculpture. Her works of ancient or oriental inspirations use, for some of them, polychromy (The Bowler, Bust of Sarah Bernhardt).

Henri Chapu, Joan of Arc (1872), Paris, Musée d’Orsay.
Emmanuel Frémiet, Monument to Joan of Arc (1874), Paris, Place des Pyramides.
Auguste Bartholdi, Statue of Liberty (1886), New York.
Georges Récipon, Harmony triumphing over discord (1900), Paris, Grand Palais.
Jean-Léon Gérôme, the Ball Player (1902), Vesoul, Georges-Garret Museum.

Realism
The cartoonist and painter Honoré Daumier with the Celebrities of the Juste Milieu series of raw clay busts of political figures of the July Monarchy, and Ratapoil, anti-Bonapartist statuette of 1851 foreshadows the realism in sculpture.

In 1847, Auguste Clésinger made headlines by exhibiting at the Salon his Woman stung by a snake. The art of this sculptor was in line with the late Romanticism, but the uncompromising realistic treatment of the body represented in all its details, going as far as to reproduce the cellulite at the top of the thighs, had been obtained by direct molding. of the body of the model Apollonie Sabatier, half-socialite in sight in the society of the time. The realism of the sculpture, the technique used, and the identity of the model have contributed to the scandal of the work.

The main representative of the realistic sculpture is Jules Dalou with monumental works on the working world where he demonstrates his republican commitments and Communards. He has left many studies for an Unfinished Workers’ Monument project (Musée du Petit Palais and Musée d’Orsay) which pay homage to the world of work and the peasantry. Another sculptor representative of this current, the Belgian Constantin Meunier, whose major part of his career takes place in Belgium, made himself known in Paris by exhibiting at the Salon of 1886 his Hammer. His bas-relief La Glèbebetween the collections of the Musée du Luxembourg in 1892, and it leaves him as a Monument to Work posthumous.

Auguste Clésinger, Woman stung by a snake (1847), Paris, Musée d’Orsay.
Honoré Daumier, Ratapoil (1850-1851), Baltimore, Walters Art Museum.
Constantin Meunier, The Puddler (1886), Leuven, M Museum.
Jules Dalou, Monument to Boussingault (1895), La Plaine Saint-Denis, National Conservatory of Arts and Crafts.

History
At the turn of the 18th and 19th centuries
The situation in the sculptural industry of France at the end of the 18th century. was complicated by the tragic events of the French Revolution of 1789 – 1793. Monumental sculpture refers to capital-intensive forms of art and usually falls out of practice during periods of popular unrest or revolutions. The royal family of France during the revolution was isolated from political and artistic life, as was the rich aristocracy that emigrated from the country, saving its own lives. It was they who were the main customers and consumers of sculpture in France.

The country has a number of sculptors who continue to work, but slowly in the areas of non-monumental. This is Simon Louis Bouazzo (1743-1809), former head of the Sevres Sculptural Manufactory, Claudion (1738-1814), author of allegories, phanus, niche and bacchanas in the style of rococo and sculptor Jean-Antoine Goodon (1741-1828). All of them saw with their own eyes the course of the tragic events of the revolution, the terror, the arrests of the dictators of the revolution, the directorate, the seizure of power by the ambitious general, Napoleon Bonaparte.

A special place was occupied by the sculptor Jean-Antoine Gudon (1741-18228). During his life he (as a portrait worker) also worked on the orders of the aristocrats (the daughter of Louis XVI, Princess of Adelaide, 1777, the Louvre, the graffiti de Sabran, the Thuringia Museum), and according to the orders of some figures of the revolution (bust of Dumurie, 1792, Angers, bust of Mirabeau), and by orders of the new military aristocracy of Napoleon I Bonaparte (bust of Napoleon, Museum, Dijon). Goodon in his work strongly broke the ties with the playful rococo of the French aristocracy and moved on to the position of realism and courageous restraint of classicismwith his aspiration for enlightenment, public service and heroism. Unfortunately, the creative work of the sculptor remains unsystematized and scattered across different continents [2]. Just the creativity of Goodon will be a bridge that linked the best achievements of the French sculpture of the previous century with the sculpture of the early 19th century.

Beginning of the 19th century
The beginning of the 19th century. was characterized by an increase in official pressure on sculptors by Napoleon and his new military aristocracy. Empire was introduced into the art practice of force. The Napoleonic Empire is a rigid, pathetic and cool style, official, more symbolic in the front portrait, and in sculpture. It differed markedly from the classicism of the late 18th century, which was freely chosen and revived by French artists in the middle of the century. Napoleon, as the usurper of power, actively sought the greatness and halo of the power of the ancient Roman emperors. That is why the artists of France were ordered to take on the models of art not republican Rome, but in Rome, the era of emperors – official, moderate and cold-majestic. There was no empire and a higher degree of development of classicism, since the Empire imposed upon Napoleon by the Empire, the classicism in the country was restored and, a little later, was reborn in the 19th century academism.

In an official manner, Antoine-Denis Schode (1763-1810), Pierre Cartelle (1757-1831), Joseph Schinard (1756-1813) and others work. This official style was fully supported by the sculptor Francois Joseph Boziio (1768-1745), who was about seventeen years old in Italy and enjoyed the advice of the sculptor Antonio Canova. Bogio arrived in Paris only in 1807.

Sculptors receive orders for the creation of triumphal arches, busts of military aristocracy and numerous official portraits of the dictator Napoleon. The sculpture came with a stereotype, the figure was fed in full swing with signs of grandeur and wrapped up in the manner of ancient Roman times. She could equally decorate the hall of the palace or tombstone, that is, lost its local destination (Napoleon-legislator, Count François Joseph Boseau, Tomb of Casimir Pierre). The size of Napoleon (small in height and inclined to superfluous weight) in the sculpture completely lost the signs of reality and acquired the features of an unrealistic symbol, for the creation of these sculptures the emperor did not post (Antonio Canova, “Peace Napoleon”, Academy of Brera, Milan – tall, skinny, completely naked and with a spear in his hand in the manner of the ancient tyrants).

The falsehood and generalized decorative character also pass into the empire relief (cf. Antoine-Denis Schode, “Homer”)

This line of official sculpture is not interrupted either with the overthrow of the empire of Napoleon in 1814 (the so-called First Empire) and the restoration of the monarchy. During this period, Jean-Jacques Pradieux (1790-1852) worked as a Frenchman of Swiss descent. The themes of his works – the subjects of antiquity, portraits, legendary figures of the Middle Ages.

Another living Francois Joseph Bozo with the same diligence will perform the bosom restored on the royal throne of Charles X in 1825 and the “Apotheosis of the Revolution of King Louis XVI”, 1826, which was to symbolize the return to the Middle Ages, ignoring significant changes in the minds of the French and changes in the laws of France, introduced by the revolution and the era of military adventures of Napoleon Bonaparte.

Sculptors of the period of romanticism
The most consistent positions of romanticism were made by the artists of France. It was there that the acutely painful gap between the humanistic ideal and the cruel reality of the country that led the endless wars, suffered from the leveling of personality and the practical destruction of the younger generation in Napoleon’s military adventures, disappointment with frequent changes in political power and the lack of prospects of stability. Romanticism of France (as opposed to other national schools) also had a patriotic, social component that was thoroughly embodied by Theodore Gericco in the film “The Rabbit of the Medusa” and Eugène Delacroix in the paintings “The Freedom of the Leader”and “Extermination of the Greeks by Turks at Chios” (“Chopping on Chios”). The unique phenomenon of French and European romanticism was the bas-relief “Marseilles” on the Triumphal Arch in Paris (sculptor – Francois Ruid).

Only with time, the patriotic component of French romanticism came to naught, and the artists moved into the position of individual resistance to the brutal bourgeois reality (Eugène Delacroix, Alfred Musset, George Sand, Stendhal, Victor Hugo, in Britain – George Gordon Byron, etc.).

An intermediate position between romanticism and late classicism was taken by sculptor David d’Ange (1788-1856). Republican political preferences forced him to spend part of his life in emigration in the UK. The sculptor was also recognized in Paris after returning home. Attempts to tame the artist and made the monarchical government of France. David d’Ange received a request for a monument to Prince Conde, commander for the courtyard in Versailles. He worked hard as a master of the memorial plastics and created a number of art tombstones. His reputation as a talented sculptor also strengthened the Order of the Legion of Honor, which he granted to power in 1825. 1826 In the year he became a member of the Institute of France.

Among the famous works in Paris is a sculptural group for the Pantheon pediment, which turned the Empire Church of St. Genevieve. Cold, empirical stylistics of the architecture of the Pantheon forced the artist to turn to an allegorical image. He created the inspirational allegory allegories of history between France and freedom. In the lush but formalist style of the French academicism, the realistic figures of the heroes of the past were compromised and unjustifiable, which became another indication of the deep crisis of French academicism in the middle of the 19th century.

Romanticism brought to the sculpture an interest in the northeast of the individual, its aspirations and emotions. In all European capitals, there are numerous monuments to great fellow countrymen, both past and present. However, in the field of monumental sculpture, there is an army of gifted artists who can offer lush, but banal solutions and compositions. The artistic value of numerous monuments is low, and exceptions are few. The monumental sculpture has become a long period of decline in artistic quality and decline. In general, Western European sculpture, which was almost entirely dependent on official tastes and public funds, was significantly lagging behind in the development and artistic significance of contemporary painting.

July monarchy and sculpture
The July monarchy (1830-1848) is a government that seized power in France after the July Revolution of 1830. Vlad was aptly called the “kingdom of bankers”, since only the bourgeoisie was part of the government. The state budget turned into a source of income only for bankers-financiers, who received huge loans and subsidies through him. Bankers, using close ties with the new government, together with the king, successfully played the stock market, speculating on government bonds and shares of private companies. They tried in every way to interfere with the French advocates of the monarchy of the Bourbon dynasty, for they insistently called for the return of power and wealth.

For this period there was the creation of a sculptural series “Queen of France and glorified women”. They only meant the Queen and the glorious women of France. The series had twenty marble sculptures of full height. Louis-Philippe I, the last monarch with the title of king on the French throne, made a choice worthy of a series of persons. Surprisingly, Zhanna d’Arc, a peasant, came to the list of queens and saints.

Rules under the title of the Frenchman from 1830 to 1848. He was a representative of the Orleans dynasty, after the July Revolution, which brought him to power, called himself a “king-citizen” to keep himself in power. He provided funding for the walk. A number of medieval people came to the list of created sculptures, realistic portraits of which did not exist and could not be created during the Middle Ages. French sculptors have created fantasy figures at their discretion. Monotone and decorative, sculptures of the Queens of France and celebrated women decorated the parterre and figured pond in front of the facade of the Luxembourg Palace, which used then for the work of the Senate. Most pseudo-historical figures were created around 1843, each of which cost the state treasury 12 000. The uprising and revolution of 1848 forced the “king-citizen” to renounce the throne. The rest of life lived Louis-Philippe I in exile in the UK.

Decline in the second half of the 19th century
The decline of ideas in the sculpture was particularly noticeable in the middle of the century. Significant amounts of money spent by governments on sculptural orders contributed to the conditions when a crowd of gifted artists, greedy for money and external signs of bourgeois success rushed to sculptures. Different stylistic systems could be used in the sculptural work: late classicism, academism, features of realism, made from careful observation of reality. Wrapped up stylistic mix, known as eclecticism.

Among the patrons and clients of the sculptor, Antoine Bari is Prince Ferdinand Philip of Orleans. The proximity to the ancient monarchical families of France led to the receipt by the sculptor of orders for the monument to Napoleon Bonaparte (a model preserved at the Museum d’Orsa), the horse sculpture of Napoleon III for the gate of the Louvre, ordering four allegorical sculptures (“Peace”, “War”, “Force”, “Order”) for the decoration of the new Louvre Palace. His artistic manner was formed on observation of reality, had a purely realistic direction, which broke his connection with the then dominant academicism.

The decline in sculpture attracts the attention of art workers who have become famous in other fields. Among them is the artist and graphic artist Gustav Dore (1832-1883).

Gustave Dora became the perfect example of sculptural mastery of the cabinet sculpture “The Park and the Love of Eroth” or “Love in the hands of the Fate.” A virtuoso draftsman with a developed artistic imagination, he endured all skill in recreating the allegorical figures of Parks and Eroth. In the sculpture Dore filed only the last park, which threateningly holds the scissors alert. Together with Eroth, they look in one direction, as if watching the next victim. Erota’s hand may have been armed with a bow, because a quiver with arrows lying at the feet of a goddess. The artist carefully recreated the old man’s face. Parks with fallen cheeks and wrinkled neck, which contrast with the youth of a winged teenager. Inspired images and carefully reproduced allegorical figures and details of the sculptural group (heavy raincoat Parks reminiscent of the Death Cloak,quiver of arrows, sand clock attribute destructive god Chronos) brought academic stylistically sculptural group at the level of true masterpieces that were rare.

Impressionism sculpture
The Impressionism running essentially pictorial, find equivalences in sculpture, by the technique of the modeling and the spontaneous surface treatment. Two artists from the painting represent this trend in sculpture, Edgar Degas and Auguste Renoir. Degas created controversy with her fourteen-year-old Little Dancer whose realism shocked contemporaries. Only sculpture to be exposed, it leaves after his death a series of waxes modeled representatives motion studies, which were cast in bronze. Another representative of this trend, the French naturalized Italian Medardo Rosso whose sculptures take for title:Impression of woman under an umbrella, or Impression in omnibus. His work could have influenced Rodin when he was working on his Balzac

Edgar Degas, Great Arabesque, Los Angeles County Museum of Art.
Edgar Degas, Fourteen-year-old Little Dancer, Copenhagen, Ny Carlsberg Glyptotek.
Medardo Rosso, Child’s Head (1892-1893), Buenos Aires, National Museum of Fine Arts of Argentina.
Auguste Renoir, Bust of Coco (1908), Frankfurt-am-Main, Städel Museum.

Symbolism
Artistic origin of literary origin, symbolism also found in sculpture a mode of expression. Style imbued with freedom, it is mainly with the high and low-reliefs that it expresses itself fully. It is found in particular, in the funerary monuments. Albert Bartholome leaves many representative works, including the war memorial cemetery Pere Lachaise, and bronze masks inspired by the Japanese art 18. Also influenced by Japanese art, through its ceramic masks, Jean Carriès marked the 1881 living with his decapitated head of Charles I in bronze. With the Porte de l’enfer Auguste Rodin as for him, realizes the monument of the symbolism in sculpture. Other representatives, Pierre Roche made the transition from the symbolism of its themes, and Art Nouveau in style.

Albert Bartholomew, War Memorial (1899), Paris, Père-Lachaise Cemetery.
Jean Carriès, Mask of horror, Paris, Petit Palais.
Auguste Rodin, The Gate of Hell, Paris, Musée Rodin.
Pierre Roche, the Effort (around 1900), Paris, Luxembourg garden.

Art Nouveau
The extreme end of the century coincides with the appearance of Art Nouveau, whose main expressions in sculpture in France are mainly decorative, with artists such as Raoul Larche, Agathon Leonard or François-Rupert Carabin.

Raoul Larche, Loie Fuller (c. 1896), Dayton Art Institute.
Pierre Roche, Loie Fuller (circa 1901), Museum of Decorative Arts in Paris.
Leonard Agathon, Scarf Dancer (circa 1900), Rijksmuseum Amsterdam.
François-Rupert Carabin, Piano (1900), Museum of Decorative Arts of Paris.

Modern sculpture
Auguste Rodin, a sculptor who has tackled neo-Baroque, symbolism and realism, is considered as the inventor of modern sculpture. With his Monument in Balzac he exhibited his manifesto of modernity in sculpture and caused a scandal during his public presentation. His disciples Camille Claudel, and Antoine Bourdelle, especially with Hercules the Archer (1910), ensure the transition to the20th

Auguste Rodin, The Bourgeois of Calais (1889), Paris, Musée Rodin.
Auguste Rodin, Monument to Balzac (1898), Paris, Musée Rodin.
Antoine Bourdelle Grand warrior of Montauban (1898-1900), museum-garden departmental Bourdelle d’Egreville.
Camille Claudel, The Wall Age (1899), Paris, musée Rodin.

Source from Wikipedia