"falls in love with her husband Giovanni Malatesta's younger brother Paolo. Having fallen in love while reading the story of Lancelot and Guinevere, the couple are discovered and killed by Francesca's husband. In the sculpture, the book can be seen in Paolo's hand. The lovers' lips do not actually touch in the sculpture, suggesting that they were interrupted and met their demise without their lips ever having touched. When critics first saw the sculpture in 1887, they suggested the less specific title ""Le Baiser"" (""The Kiss""). Rodin indicated that his approach to sculpting women was of homage to them and"
"a marker, can be seen as a reference to Manneken Pis. It is, however, not associated with a fountain. ""Zinneke"" means bastard in the dialect of Brussels. Manneken Pis Manneken Pis (, meaning ""Little Pisser"" in Dutch) is a landmark small bronze sculpture (61 cm) in the centre of Brussels (Belgium), depicting a naked little boy urinating into a fountain's basin. It was designed by and put in place in 1618 or 1619. The current statue is a copy which dates from 1965. The original is kept in the Museum of the City of Brussels. Manneken Pis is the best-known"
"Manneken Pis Manneken Pis (, meaning ""Little Pisser"" in Dutch) is a landmark small bronze sculpture (61 cm) in the centre of Brussels (Belgium), depicting a naked little boy urinating into a fountain's basin. It was designed by and put in place in 1618 or 1619. The current statue is a copy which dates from 1965. The original is kept in the Museum of the City of Brussels. Manneken Pis is the best-known symbol of the people of Brussels. It also embodies their sense of humour (called ""zwanze"" in the dialect of Brussels) and their independence of mind. Manneken Pis"
"Baigneuses (Metzinger) Baigneuses, also called Bathers, is a Proto-Cubist painting, now lost or missing, created circa 1908 by the French artist and theorist Jean Metzinger. Possibly exhibited during the spring of 1908 at the Salon des Indépendants (n. 4243). This black-and-white image of Metzinger's painting, the only known photograph of the work, was reproduced in Gelett Burgess, ""The Wild Men of Paris"", ""Architectural Record"", May 1910. The painting was also reproduced in ""The New York Times"", 8 October 1911, in an article titled ""The 'Cubists' Dominate Paris' Fall Salon"", and subtitled, ""Eccentric School of Painting Increases Its Vogue in the"
"The Kiss (Rodin sculpture) The Kiss () is an 1882 marble sculpture by the French sculptor Auguste Rodin. The embracing nude couple depicted in the sculpture appeared originally as part of a group of reliefs decorating Rodin's monumental bronze portal ""The Gates of Hell"", commissioned for a planned museum of art in Paris. The couple were later removed from the ""Gates"" and replaced with another pair of lovers located on the smaller right-hand column. The sculpture, ""The Kiss"", was originally titled Francesca da Rimini, as it depicts the 13th-century Italian noblewoman immortalised in Dante's ""Inferno"" (Circle 2, Canto 5) who"
"Le goûter (Tea Time) Le Goûter, also known as Tea Time (""Tea-Time""), and Femme à la Cuillère (""Woman with a teaspoon"") is an oil painting created in 1911 by the French artist and theorist Jean Metzinger (1883–1956). It was exhibited in Paris at the Salon d'Automne of 1911, and the Salon de la Section d'Or, 1912. The painting was first reproduced (illustrated) in Chroniques Médico-Artistique, ""Le Sabotage Anatomique au Salon d'Automne"" (1911). The following year it was reproduced in ""Du ""Cubisme"""", by Jean Metzinger and Albert Gleizes (1912). In 1913 it was published in ""The Cubist Painters, Aesthetic Meditations (Les"
"Les Baigneuses (Gleizes) Les Baigneuses (also known as The Bathers), is a large oil painting created at the outset of 1912 by the French artist, theorist and writer Albert Gleizes (1881–1953). It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in ""Du ""Cubisme"""", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. ""Les Baigneuses"", while still 'readable' in the figurative or"
"L'Âme de la France L'Âme de la France (""The Soul of France"") is the name given by the French sculptor Carlo Sarrabezolles to three identical monumental statues that he executed in three different materials during the interwar period, the first in plaster in 1921, the second in stone in 1922, and the last in bronze in 1930. 3.2 metres tall, they represent a female warrior with naked breasts raising her arms toward the sky. Executed from the first of the three models, the newest sculpture is currently located on a pedestal at the entrance to Hell-Bourg on the Heights of"
"The Bathers (Cézanne) The Bathers (French: Les Grandes Baigneuses) is an oil painting by French artist Paul Cézanne first exhibited in 1906. The painting, which is exhibited in the Philadelphia Museum of Art, is the largest of a series of ""Bather"" paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Philadelphia, and the Art Institute of Chicago. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is"
"he presides is working to renovate the pedestal, funds for which the French state must eventually decide to appropriate through the Direction régionale des Affaires culturelles. L'Âme de la France L'Âme de la France (""The Soul of France"") is the name given by the French sculptor Carlo Sarrabezolles to three identical monumental statues that he executed in three different materials during the interwar period, the first in plaster in 1921, the second in stone in 1922, and the last in bronze in 1930. 3.2 metres tall, they represent a female warrior with naked breasts raising her arms toward the sky."
"Peinture"" as part of the decoration of the Palais de Chaillot. In the bas-relief a painter is shown at work surrounded by a man and a woman whose beauty he will attempt to capture in his work. The inscription in Greek, ""KALLOS"" (beauty, reminds him of his task. 8. Statue of Cardinal Lavigerie. In 1925 the French governor of Tunisia, Lucien Saint wished to celebrate Lavigerie's centenary and commissioned Vézien to work on a suitable sculpture. Vézien's statue of Lavigerie was erected in Tunis and stood in the place Bab El Bhar. The statue depicted the cardinal brandishing a cross."
"as ""Baigneuse à la Draperie"". Bronze versions of this 1938 composition held by various parties and the plaster model lodged with the Musée d'art moderne in Paris. Poitiers' Musée Sainte-Croix hold the plaster version. This plaster bust of the French president's grandson is held by Poitiers' Musées de la ville et de la société des antiquaires de l'Ouest. This plaster bas-relief can be seen in Bourg-en-Bresse's Musée de Brou. In 1933 Poisson a bust of ""Marianne"", the symbol of the French Republic and this was made available for sale by the Musée du Louvre. A version can for example be"
"The Maiden Kissed by the Ghost The Maiden Kissed by the Ghost (known by the artist as ""Le baiser du fantôme et la demoiselle"" or ""Le Rêve"" ) is an 1880 sculpture by the French artist Auguste Rodin. It was first exhibited at his fourteenth exhibition, hosted by the National Society Salon. One of the marble versions of the work is now in the museo Soumaya in Mexico City. It shows a winged man above a young woman, who tries not to return his kiss. The work shows Rodin's admiration for Michelangelo's treatment of the human form and draws on"
"the assembly and disassembly of objects, of the ability of citizens in “se débrouiller” (getting by) in many complex situations. Despite the fact La Nouvelle Liberté has become an icon of the city, this sculpture is still often nicknamed the Njo Njo of Deido (meaning the evil, the monster of Deido). This negative designation is based on the strong protests carried on by local media and native populations against La Nouvelle Liberté. The first polemics mainly concerned the aesthetical features of the sculpture, made of recycled metallic pieces. Also, a violent controversy was raised by media on the origins of"
"The Valpinçon Bather The Valpinçon Bather (Fr: La Grande Baigneuse) is an 1808 painting by the French Neoclassical artist Jean Auguste Dominique Ingres (1780–1867), held in the Louvre since 1879. Painted while the artist was studying at the French Academy in Rome, it was originally titled Seated Woman but later became known after one of its nineteenth-century owners. Although the painting was not met with favour by critics when first exhibited, almost fifty years later, when the artist's reputation was well established, the Goncourt brothers wrote that ""Rembrandt himself would have envied the amber color of this pale torso"", while"
"Joseph Mozier Joseph Mozier (August 22, 1812 – October 3, 1870) was an American sculptor active in Italy. He was born in Burlington, Vermont, in 1812. In 1831 he moved to New York City, where he worked as a merchant. He retired from business around 1845, and shortly afterward went to Europe, studying sculpture for several years in Florence, after which he moved to Rome. His best-known work is ""Undine"", the title character in the novella by Friedrich de la Motte Fouqué, a water nymph who falls in love with a man. He won a grand prize for it in"
"la Victoire"" [The Kiss of Victory] (1923), which was installed initially on in the Parc Parmentier in Brussels but in the 1960s was removed a short distance away to the Cimetiere Woluwe de St-Pierre. The bluestone sculpture consists of a central standing bare-chested, unarmed male soldier being embraced and supported from behind by a cloaked woman. Above them to the right, a completely nude female winged figure—undoubtedly a symbol of Victory—contorts her body over the top of the soldier’s head, appearing to lean in to kiss the soldier. A smaller-scale reproduction in wood from 1925 is owned by The Wolfsonian-FIU"
"is located only five minutes' walk from the Grand Place, at the junction of / and the pedestrian /. This site is served by the ""premetro"" station Bourse (on lines 3 and 4) and the bus stops Grand Place and Cesar de Paepe. To be precise, the real name of the statue is Menneke Pis. In fact, in the dialect of Brussels (""Brussels""), ""een"" ""manneke"" means a small man, whereas ""een"" ""menneke"" means a little boy (it is the diminutive of ""men"": boy). Manneken Pis is sometimes given the nickname of in French or in Dutch (""Little Julien""), which in"
"'French grace', while noting Metzinger 'illuminated a cubist figure with the virtues of a smile'. La Femme au Cheval La Femme au Cheval (also known as Woman with Horse, L'Écuyère and Kvinde med hest) is a large oil painting created toward the end of 1911 by the French artist Jean Metzinger (1883–1956). The work was exhibited in Paris at the Salon des Indépendants (20 March–16 May) in 1912 and the Salon de la Section d'Or, 1912. The following year ""La Femme au Cheval"" was reproduced in ""The Cubist Painters, Aesthetic Meditations"" by Guillaume Apollinaire (1913). The artist has broken down"
"sculpture Le génie du mal Le génie du mal (installed 1848) or ""The Genius of Evil"" or the genie of evil or the spirit of evil, known informally in English as Lucifer or The Lucifer of Liège, is a religious sculpture executed in white marble by the Belgian artist Guillaume Geefs. Francophone art historians most often refer to the figure as an ""ange déchu"", a ""fallen angel"". It is located within the elaborate pulpit (French ""chaire de vérité"", ""seat of truth"") of St. Paul's Cathedral, Liège, and depicts a classically beautiful man in his physical prime, chained, seated, and nearly"
"Jean-Jacques Caffieri Jean-Jacques Caffieri (29 April 1725 - 22 June 1792) was a French sculptor. He was appointed ""sculpteur du Roi"" to Louis XV and later afforded lodgings in the Galeries du Louvre. He designed the fine ""rampe d'escalier"" which still adorns the Palais Royal. He is better known for his portrait busts, in terracotta or marble: his bust of Madame du Barry is at the Hermitage Museum, St Petersburg. He made a name with his busts of Pierre Corneille and Jean Racine for the foyer of the Comédie Française. He was born in Paris and came from a family"
"The Sorcerer (cave art) The Sorcerer is one name for an enigmatic cave painting found in the cavern known as 'The Sanctuary' at the Cave of the Trois-Frères, Ariège, France, made around 13,000 BC. The figure's significance is unknown, but it is usually interpreted as some kind of great spirit or master of animals. The unusual nature of The Sanctuary's decoration may also reflect the practice of magical ceremonies in the chamber. In his sketches of the cave art, Henri Breuil drew a horned humanoid torso and the publication of this drawing in the 1920s influenced many subsequent theories about"
"Emmanuel Frémiet Emmanuel Frémiet (6 December 1824 – 10 September 1910) was a French sculptor. He is famous for his sculpture of Joan of Arc in Paris (and its ""sister"" statues in Philadelphia and Portland, Oregon) and the monument to Ferdinand de Lesseps in Suez. The noted sculptor Pierre-Nicolas Tourgueneff was one of many students who learned sculpture under the tutelage of Frémiet. Born in Paris, he was a nephew and pupil of Sophie Frémiet, and later he became a pupil of her husband François Rude. He chiefly devoted himself to animal sculpture. His earliest work was in scientific lithography"
"numerous individuals, among them Lady Wallace (wife of Richard Wallace), Émile de Girardin, Auguste Comte, and Eugène Livet. Charles-Auguste Lebourg Charles-Auguste Lebourg (20 February 1829 – February 1906) was a French sculptor, best known for the sculptural design of the Wallace fountains, which are found in virtually every quarter of Paris and in various cities throughout the world. He also created numerous statues and busts in bronze and marble, winning recognition at various Salons and World's Fairs throughout the latter half of the nineteenth century. His work is on display at the Musée d'Orsay in Paris and the Fine Arts"
"with Jacques-Louis David. He worked largely in an expressive neoclassical style, illustrated in his statue of ""Philopoemen hurt"" (1837), now in the Louvre. Other sculptors with more enduring fame were François Rude, who made his celebrated ""La Marseillaise"" sculpture (formally known as ""The departure of the volunteers""), a ten-meter high bas-relief for the Arc de Triomphe (1833-36), a project begun by Napoleon and completed by Louis Philippe. Rude also made the romantic ""Napoleon awakening to immortality"" in 1845-47. This illustrated popular movement to restore the reputation of Napoleon and the revolutionary spirit, which had been suppressed under the Restoration, but"
"La Circassienne au Bain La Circassienne au Bain, also known as Une Baigneuse, was a large Neoclassical oil painting from 1814 by Merry-Joseph Blondel depicting a life-sized young Circassian woman bathing in an idealized setting from classical antiquity. The painting was destroyed with the sinking of the RMS ""Titanic"" in 1912. When financial compensation claims were filed with US commissioner Gilchrist in January 1913, the painting gained notoriety as the subject of the largest claim made against the White Star Line for the loss of a single item of baggage or cargo. The painting was first exhibited at the Paris"
"applied to the vast ashlar masonry masses, not unlike the gilt-bronze appliqués on Empire furniture. The four sculptural groups at the base of the Arc are ""The Triumph of 1810"" (Cortot), ""Resistance"" and ""Peace"" (both by Antoine Étex) and the most renowned of them all, ""Departure of the Volunteers of 1792"" commonly called ""La Marseillaise"" (François Rude). The face of the allegorical representation of France calling forth her people on this last was used as the belt buckle for the honorary rank of Marshal of France. Since the fall of Napoleon (1815), the sculpture representing ""Peace"" is interpreted as commemorating"
"Baptistin Baille Baptistin Baille was born Jean-Baptiste Baille in France, in 1841 and he died in 1918. He was a professor of optics and acoustics at the École de Physique et de Chimie Industrielles in Paris and a close friend of Paul Cézanne, the impressionist artist, and of Émile Zola who would later become a writer. Together, they were known as ""les trois inséparables"" (the three inseparables). The three boys met when they were at school and often swam together at the River Arc. Cézanne produced numerous paintings of male bathers based on these experiences, which Zola also remembered in"
"by two fountains constructed at the time of its erection on the Place. The Paris obelisk was sometimes mistakenly described as ""l'Aiguille de Cléopâtre"", but the London and New York obelisks pair was referred to as Cleopatra's Needles as early as 1821, suggesting the nickname came from the pair located in Alexandria. However, the Paris obelisk is more often referred to as ""the Luxor Obelisk"". Cleopatra's Needle Cleopatra's Needle is the popular name for each of three Ancient Egyptian obelisks re-erected in London, Paris, and New York City during the nineteenth century. The obelisks in London and New York are"
"in bronze and marble, bas reliefs and fountains. At Versailles, his bronze fountain sculpture of a cupid, ""the Genius of Royal Power"" seated on an eagle that ejected a spout of water, was engraved by Jean le Pautre (his father-in-law) in the 1670s as part of the series of images that helped disseminate the Baroque Classicism of Versailles throughout Europe. Another fountain sculpture for Versailles, ""Cherubs Playing with a Lyre"", of 1672-1673, was removed from Versailles in the mid-eighteenth century and is now in the National Gallery of Art, Washington DC. Projects for the Bâtiments du Roi were distinctly a"
"The Waltz (Claudel) The Waltz (French: ""La valse"") or The Waltzers (French: ""Les valseurs"") is a sculpture by French artist Camille Claudel. It depicts two figures, a man and a woman, locked in an amorous embrace as they dance a waltz. The work was inspired by Claudel's burgeoning love affair with her mentor and employer Auguste Rodin. Various versions were made from 1889 to 1905, initially in modelled in plaster, and later cast in bronze. Examples are held by the Musée Rodin and the Musée Camille Claudel. Claudel was studying with Alfred Boucher in Paris when she was first introduced"
"ongoing comic book title Slaine. The novel ""The Story of B"" by Daniel Quinn includes an interpretation of the painting as an expression of late Paleolithic animism, a symbol for the human sense of identity with other animal life. The Sorcerer (cave art) The Sorcerer is one name for an enigmatic cave painting found in the cavern known as 'The Sanctuary' at the Cave of the Trois-Frères, Ariège, France, made around 13,000 BC. The figure's significance is unknown, but it is usually interpreted as some kind of great spirit or master of animals. The unusual nature of The Sanctuary's decoration"
"Unger. During the Second Empire, he executed a full-length official sculpture of Napoleon III, which is still at Compiègne. In 1866 he was commissioned to provide a sculptural centrepiece for the Medici Fountain in the Jardin du Luxembourg, one of the few survivals of Salomon de Brosse's gardens for Marie de Medici; the ""nymphaeum"" of rockwork in an architectural frame was being moved from its former location to make way for widening of a carriageway, part of Baron Haussmann's improvements. The result was his best-known work, ""Polyphemus Surprising Acis and Galatea"", where the bronze giant crouches above the rocky grotto"