mardi 18 juillet 2017

Diana by McCartan (1)

la Diane de McCartan

Avec l'été, l'esprit vagabonde la nuit en observant la lune, et je me prends à rêver à Diane, (à moins que ce soit Artémis), courant avec ses lévriers derrière les cerfs, et domptant les biches....dans les forêt des Pyrénées...

McCartan a créé une Diana sublime, 
la voici :

Je vous le fais en Anglais, la langue de notre Président, quand il prononce de sa voix claire :

-« I want make the planet great again » !

Je frémis comme vous d’allégresse, et vous allez voir, je ne parle plus qu'anglais, ce n'est pas si difficile :

Edward Francis McCartan (August 16, 1879 - September 20, 1947) was an American sculptor, best known for his decorative bronzes done in an elegant style popular in the 1920s.

Born in Albany, New York, he studied at the Pratt Institute, with Herbert Adams. He also studied at the Art Students League of New York with George Grey Barnard and Hermon Atkins MacNeil, and then in Paris under Jean Antoine Injalbert, before his return to the United States in 1910. 

Je connais bien Jean-Antoine Injalbert, qui a réalisé la belle Mariane qui trône désormais chez nous place de la Laïcité. 

Edward arrive le 30 mars 1907.  He stayed for three years, making frequent visits to the Louvre to see antique and Renaissance sculpture. McCartan also became well acquainted with the statuary at Versailles. The sculpture of Jean Goujon, Clodion, and Jean Antoine Houdon exerted a lasting influence on McCartan. He exhibited at the salons in Paris but later destroyed most of his early sculptures. Although McCartan expressed enthusiasm about the work of Rodin during his stay in Paris, Rodin's impact on McCartan's sculpture was short lived. Only one work, The Kiss (Albright-Knox Gallery), a marble group of a nude female kissing a child, echoes Rodin's style. McCartan began The Kiss in Paris in 1908 but did not finish it until 1924.

In 1914, McCartan became the Director of the Sculpture Department of the Beaux-Arts Institute of Design in New York City.

Posthumously honored by the National Sculpture Society, his public monuments were few-but the Eugene Field Memorial ("Winken, Blinken, and Nod") can still be found in the Lincoln Park Zoo, Chicago.

Celui-là, je vais vous le remontrer plus tard, car il vaut vraiment le coup d’œil !

McCartan's sculpture, was stolen from the Grosse Pointe War Memorial in Michigan and was discovered at the bottom of the Detroit River eight years later.

Other work can be found at Brookgreen Gardens in South Carolina. New Jersey Bell Headquarters Building, a national historic site in Newark, New Jersey includes pilasters by the artist. He worked on a pediment for the Department of Labor Building, in 1934-1935.

He died in New Rochelle, New York, September 20, 1947 and is buried at St. Agnes Cemetery, Menands, New York.

Vous savez tout. Je commence par une carte postale du salon d’automne, vous reconnaissez le Grand Palais, et au loin la Diane de Falguière. Nous voilà une fois encore avec Diane goodess of moon, armée de son arc et entourée de ses lévriers. Notre Edward n’en a représenté qu’un seul, il tire comme un âne sur sa laisse, et Diane un peu menue (même si elle est hyper-musclée) a bien du mal à le retenir, d’où son corps penché en arrière.

Quelle position, quelle force, quelle grâce !

Elle garde l’équilibre grâce à son arc qu’elle tient au bout de son bras gauche.

à suivre !

(Diane pose son arc)

PS : pour suivre Diane :

Pour ceux qui souhaitent approfondir leur anglais :

McCartan created his best-known work, Diana with a Hound, in 1923. In this signature piece he crystallized his conception of the ideal nude in the spirit of Clodion and Jean Goujon. The svelte huntress strides forward while restraining her lean hound, who leaps ahead at her side. She twists to resist his pressure on the leash and extends the bow in her left hand to keep her balance, thus framing the primary view of her exquisite torso as her muscles tighten in response to the dog. The interplay of human and animal energy and forward and backward movement create a tension visible throughout the softly modeled forms of the goddess's nubile body. The gilded leash, bow, and the crescent moon on Diana's tiara highlight the refined composition, which ranks as McCartan's masterpiece and one of the most beautiful nudes in the history of art. It was exhibited at the National Sculpture Society exhibition in 1923 and in 1925 at the Concord Art Association, where it won a medal of honor. The first bronze cast of the two-foot-tall sculpture was purchased by the Metropolitan Museum of Art, and a heroic-scale version was completed for a Connecticut garden in 1930.