The competition was won by Louis-Ernest Barrias and his work can be seen near the Arche de la Défense. The committee threw it out at the first round stating that it was too violent. The original sculpture was created by Rodin for a competition in 1879 which was looking to create a statue for the Defence of Paris in 1870. The statue was unveiled on 1 August 1920 and has since been moved a couple of times. After deliberation the Dutch decided upon a version four times the size of the original and visited Rodin in late autumn for his approval - Rodin died on 17 November 1917. In the aftermath of the battle in 1916 a Dutch committee requested the rights to have a copy made for the city and Rodin provided his original model. It is a copy of Rodin’s L’Appel aux armes (Call to arms) and features a dying soldier with a furious winged victory, fists clenched, rallying the people. On the northern side of the Porte Chaussée, along the embankment, you will see this sculpture offered by the people of the Netherlands. The cascade down to the river represents the constant flow of life.Īlong the banks of the Meuse - the fomer officers’ mess opposite It is possible to climb the seventy-three stairs to the top. There are two Russian field guns at the front of the monument which had been captured by the Germans and then taken from them by the French Army. The Victory Monument was inaugurated on 23 June 1929. #RODIN CALL TO ARMS SERIES#It was only at the Treaty of Munster in 1648 that Verdun was officially declared French and the master Fortress builder of the time: Vauban, began an ambitious scheme to supplement the town’s citadel with a complete series of encircling fortifications.įacing the east, the gate is similar to the Menin Gate in Ieper because soldiers would have passed by here on their way to rest periods in the citadel - and on their way back to the front. In mediaeval times the town was enclosed within a wall part of which can still be seen today at the Porte Chaussée. Verdun TownĪn important trading and strategic site the town of Verdun sits astride the banks of the River Meuse. Our records are frequently revised and enhanced.I have visited the area a number of times and am always struck by the fact that whilst there may be statues and fortresses to look at, the memorial to the dead is probably the ground over which they fought. This record has been reviewed by the curatorial staff but may be incomplete. 374ģ2Q: 2100 19th Century, Harvard Art Museums, Cambridge,. Godine and Philadelphia Museum of Art (Philadelphia, PA, 1976), p. Tancock, The Sculpture of Auguste Rodin, David R. Ionel Jianou and Cecile Goldscheider, Rodin, Editions d'Art, Arted, Paris (Paris, France, 1967), p. Lane Faison, Jr., A Guide to the Art Museums of New England, Harcourt, Brace and Co. To request a higher resolution file of this image, please submit an online request. The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. Winthrop Accession Year 1943 Object Number 1943.1138 Division European and American Art Contact THIS WORK MAY NOT BE LENT BY THE TERMS OF ITS ACQUISITION TO THE HARVARD ART MUSEUMS. Winthrop, 1923, bequest to Fogg Art Museum, 1943.Īcquisition and Rights Credit Line Harvard Art Museums/Fogg Museum, Bequest of Grenville L. View this object's location on our interactive map Physical Descriptions Medium Bronze Dimensions 114.9 x 27.9 x 32.4 cm (45 1/4 x 11 x 12 3/4 in.) Inscriptions and Marks Level 2, Room 2100, European and American Art, 17th–19th century, Centuries of Tradition, Changing Times: Art for an Uncertain Age Sculpture Date 1879 Culture French Persistent Link Location Identification and Creation Object Number 1943.1138 People Auguste Rodin, French (Paris, France 1840 - 1917 Meudon, France)Īlternate Title: L'Appel aux Armes / La Défense Classification Sculpture Work Type Though inspired by many precedents, Rodin’s group specifically recalls François Rude’s relief on the side of the Arc de Triomphe, March of the Volunteers of 1792 (La Marseillaise), 1833–36, which is also surmounted by a winged figure of war. Her wings, outstretched arms, and bare breasts recall ancient sculptures of Victory, while her Phrygian bonnet- a conical cap- alludes to the triumph of the French Revolution (1789–99) and symbolizes liberty. The composition features a wounded soldier falling to the ground, gazing up at the Genius of War. must have appeared too violent, too intense.” It was roundly rejected, which Rodin later attributed to its portrayal of violence: “Despite all my efforts, despite the life which, I believe, animates my group. Rodin submitted this design for a public monument commemorating the defense of Paris during the Franco-Prussian War (1870–71).
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