COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
DMA_.1980.7
amicoid
DMA_.1980.7
AMICA ID
false
AMICA Library Year:
2003
aly
2003
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Mangold, Sylvia
crn
Mangold, Sylvia
Creator Name
false
Creator Dates/Places:
American, born 1938
cdt
American, born 1938
Creator Dates/Places
false
Creator Name-CRT:
Sylvia Plimack Mangold
crt
Sylvia Plimack Mangold
Creator Name-CRT
false
Title:
Schunnemunk Mountain
otn
Schunnemunk Mountain
Title
false
View:
Full View
rid
Full View
View
false
Creation Date:
1979
oct
1979
Creation Date
false
Creation Start Date:
1979
ocs
1979
Creation Start Date
false
Creation End Date:
1979
oce
1979
Creation End Date
false
Materials and Techniques:
Oil on canvas
omd
Oil on canvas
Materials and Techniques
false
Dimensions:
Overall: 62 7/8 x 82 11/16 in. (159.72 x 210.03 cm.)
met
Overall: 62 7/8 x 82 11/16 in. (159.72 x 210.03 cm.)
Dimensions
false
AMICA Contributor:
Dallas Museum of Art
oon
Dallas Museum of Art
AMICA Contributor
false
Owner Location:
Dallas, Texas, USA
oop
Dallas, Texas, USA
Owner Location
false
ID Number:
1980.7
ooa
1980.7
ID Number
false
Credit Line:
Dallas Museum of Art, General Acquisitions Fund and a gift of The 500, Inc.
ooc
Dallas Museum of Art, General Acquisitions Fund and a gift of The 500, Inc.
Credit Line
false
Rights:
orl
<a href="http://www.DallasMuseumofArt.org"target="_new">http://www.DallasMuseumofArt.org</a>
Rights
false
Context:
A pupil of sculptor François Rude and an early teacher of Rodin, Carpeaux holds a central position in the history of French romantic sculpture of the nineteenth century. "Ugolino and His Sons" is clearly informed by the masterworks of Michelangelo as well as the Hellenistic and Roman sculpture Carpeaux studied during his year in Italy as the recipient of the coveted Prix de Rome in 1854. The dramatic and macabre subject drawn from Dante's "Inferno" is typical of romanticism: Count Ugolino della Gherardesca, the tyrannical thirteenth-century master of Pisa, has been condemned to starve, and he staves off hunger by devouring his sons. Carpeaux struggled with this exceedingly complex figural group, producing a number of versions. The French academy attacked his emphasis on the male nude as well as the bizarre theme, but in the end accepted a bronze version of the sculpture.Ironically the controversy around the Ugolino sculpture boosted Carpeaux's career, leading to prominent public commissions such as "The Dance" for the façade of the Paris Opera. Meanwhile, demand for the Ugolino group continued. In addition to full-scale versions in plaster, terra-cotta, and marble, Carpeaux executed a smaller-scale model, which was cast in various media in several editions dating from the artist's lifetime until well into our century."Dallas Museum of Art: A Guide to the Collection," page 108
cxd
A pupil of sculptor François Rude and an early teacher of Rodin, Carpeaux holds a central position in the history of French romantic sculpture of the nineteenth century. "Ugolino and His Sons" is clearly informed by the masterworks of Michelangelo as well as the Hellenistic and Roman sculpture Carpeaux studied during his year in Italy as the recipient of the coveted Prix de Rome in 1854. The dramatic and macabre subject drawn from Dante's "Inferno" is typical of romanticism: Count Ugolino della Gherardesca, the tyrannical thirteenth-century master of Pisa, has been condemned to starve, and he staves off hunger by devouring his sons. Carpeaux struggled with this exceedingly complex figural group, producing a number of versions. The French academy attacked his emphasis on the male nude as well as the bizarre theme, but in the end accepted a bronze version of the sculpture.Ironically the controversy around the Ugolino sculpture boosted Carpeaux's career, leading to prominent public commissions such as "The Dance" for the façade of the Paris Opera. Meanwhile, demand for the Ugolino group continued. In addition to full-scale versions in plaster, terra-cotta, and marble, Carpeaux executed a smaller-scale model, which was cast in various media in several editions dating from the artist's lifetime until well into our century."Dallas Museum of Art: A Guide to the Collection," page 108
Context
false
Related Image Identifier Link:
DMA_.1980_7.tif
ril
DMA_.1980_7.tif
Related Image Identifier Link
false