Works here, all from the late 19th or early 20th century, illustrate the interests of sculptors since ancient times -- their subjects, materials, techniques. Favored above all are the human figure and the human face, idealized or expressive. The materials -- bronze, marble, plaster, clay -- may be worked to a smooth, cool finish or animated with the artist's gesture. Some examples are cast in molds taken from a sculptor's model, while others are carved or modeled directly by hand.

Rodin brought new life to sculpture with a fiercely expressionistic handling of materials and the human form. His rough surfaces have been compared to impressionist brushwork. He broke new ground with fragmentary figures -- torsos that are headless, armless, legless and yet so powerful they seem to move. To an unprecedented extent, Rodin authorized production of his sculpture in various sizes and media by specialist casters and carvers. All here were made during the artist's lifetime, some by his own hand.

Degas, Renoir, and Gauguin, celebrated as painters, also worked as sculptors. The National Gallery owns the world's largest collection of the original wax sculpture Degas modeled in continual experimentation. He concentrated on subjects from the modern world -- dancers, bathers, and race horses in motion. Gauguin favored imagery from remote, exotic cultures, often carved in wood, while Renoir turned to clay to evoke the warmth of family life.

Many of the best sculptors of the early 20th century reacted against the expressive form and animated surfaces of Rodin, preferring instead the fundamental classicism seen in these rooms. Figures are often quiet and self-contained. Masses are simplified and detail reduced or treated with rhythmic abstraction. Planes are smoothed, and these uncluttered contours call attention both to the figure and the space around it. Lines are streamlined for the machine age, yet forms recall the timelessness of ancient art.

For much of this period the elevated themes and idealized coolness of neoclassical art prevailed in sculpture. Among the first defectors were artists specializing in animal subjects. Theirs was a romantic, epic view of Nature -- at once terrible and beautiful. While these were quite popular, other innovative work went largely unknown. The public, for example, saw the politically subversive and dynamic sculpture of Daumier -- better known as a draftsman and caricaturist -- only a year before his death.

These galleries suggest original settings for 18th-century sculpture. Filled with furniture, paintings, tapestries, and porcelains, they provide a sense of rococo's charm and informality, with its lighthearted subjects and scrolling ornament. The rooms also witness the beginnings of neoclassicism, which made its first appearance in the decorative arts. Archaeological discoveries fanned a passion for all things Greek and Roman -- new forms of decoration, classically inspired metalwork, and new furniture designs based on ancient models.

In a museum devoted to Western art, Chinese porcelains may come as a surprise. They belong to the patterns of 19th century collecting and connoisseurship that formed the National Gallery. Valued in their own right for their virtuosity and rarity, these porcelains were also regarded as a fitting complement to Old Master paintings and sculpture. Most date from the Qing dynasty (1644-1911), when Chinese ceramics reached a peak of technical perfection.

Sculpture of the 16th and 17th centuries in Italy, France, and northern Europe dominates these galleries. Many bronze figures, in their elegant spiraling poses and complex spatial relationships, show the impact of the great Flemish-Florentine artist Giambologna. The dynamic and expressive qualities of baroque sculpture appear in the Mazzuoli Nereid.

The sculpture and decorative arts in these galleries were designed for Renaissance homes and churches. Expansive tapestries of religious subjects adorned the walls of rich palaces, where logs burned in carved stone fireplaces. Portrait busts, images of saints, and reliefs of the Madonna and Child were part of daily life. Small bronzes that revived themes from ancient mythology enlivened the desks of scholars and merchants.

Treasures of medieval art, seen with the jeweled colors of stained glass, include enameled containers and an ancient cup mounted in gilt silver. Medieval and Renaissance churches also displayed wooden or stone images of holy figures, often brightly painted. Renaissance artists' skill in modeling and bronze-casting created some of the greatest miniature sculpture ever produced -- portrait medals and the little reliefs of mythological and Bible stories known as plaquettes. The National Gallery has the finest series of plaquettes anywhere.


MANSHIP : Dancer and Gazelles
MAILLOL : Rosita
STERNE : Sitting Figure
 

Inspired by a block of Greek marble pulled from the Tiber River near his Italian summer home, American Maurice Sterne allowed the marble's size and shape to determine the pose and gestures of Sitting Figure. Poised on a small square base, the nude is completely contained within the invisible block: with head bowed, she draws one knee up, folding the other leg beneath her. She holds her arms close to her torso, resting hands on shoulder and knee. Sterne carved each line and contour to return the viewer's eye to the figure's center. She gazes inward, in deep meditation, an image of calm and repose.

Sterne sought, in both painting and sculpture, to combine the lessons of tradition with the contemporary artistic environment that surrounded him. With his choice of subject and material, and by refining and reducing the image to its most concentrated, expressive form, Sterne refers to archaic Greek sculpture. But rather than polish the stone to imitate skin or use a drill to fashion locks of hair (as tradition may have dictated), Sterne preferred the texture of the natural marble. He used few finishing tools and, with the exception of the roughly finished base, achieved a consistent texture for the figure.

Sterne began his career as a draftsman and painter. From the beginning, critics recognized his deft use of line to describe the weight and volume of objects in his two-dimensional work. "[Sterne's] pictures convey something of the mass and weight which sculpture conveys," wrote one scholar. In Greece in 1908, he studied archaic Greek statues and was inspired to carve his first sculpture in stone. Several years later, he traveled to Bali to paint and sketch; it is thought he based Sitting Figure on a sketch he made of a Balinese woman from that time.

MAURICE STERNE
Sitting Figure
1932

MATERIAL: Marble
DIMENSIONS: 57.9 x 32.2 x 41.1 cm (22 3/4 x 12 5/8 x 16 1/8 in.)
COLLECTION: National Gallery of Art, Washington DC. Gift of Lauson H. Stone and Marshall H. Stone
ACCESSION NUMBER: 1969.4.1


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