diatoms

George Bernard Shaw by Auguste Rodin 1906 http://www.hughlane.ie/curators-choice/2883-george-bernard-shaw-by-auguste-rodin The Irish playwright, critic and activist, George Bernard Shaw, was one of many artists and writers who supported Hugh Lane’s efforts to found a gallery of modern art in Dublin. In defence of Lane’s ambitions, he argued “Is anybody in Dublin so stupendously ignorant as not to know that it will be one of the most precious collections of the kind in Europe?” However, Shaw was not in favour of Lane’s desire to house the gallery on a new bridge over the River Liffey. While others objected to the bridge gallery on the basis of cost, logistics or aesthetics, Shaw - who is celebrated for his wit - simply quipped, “has Sir Hugh Lane ever smelt the Liffey?” Shaw first met Rodin in London in 1904, when the French sculptor was appointed President of the International Society of Sculptors, Painters and Gravers. In March 1906 Shaw’s wife Charlotte invited Rodin to tea at their flat at Adelphi Terrace, London, when they discussed the idea of Rodin making a bust of the playwright. Shaw later called Rodin “the greatest sculptor of his epoch.” He considered “any man who being a contemporary of Rodin, deliberately allowed his bust to be made by anyone else must go down to posterity (if he went down at all) as a stupendous nincompoop.” Shaw wanted to be portrayed by an artist who was “capable of seeing me.” He felt that there were already many portraits of his reputation of which he was wary: “I have never been taken in by my reputation, having manufactured it myself.” He sat to Rodin in his studio in Meudon near Paris in 1906. His account of Rodin’s process is fascinating: “…a succession of miracles took place as he worked. In the first fifteen minutes, in merely giving a suggestion of human shape to the lump of clay, he produced so spirited a thumbnail bust of me that I wanted to take it away and relieve him from further labor.” However, the work did continue as Rodin required around thirty sittings over the following month. According to Shaw, the process wasn’t always easy: “To keep the clay moist he used to take water into his mouth and spit it on the model. But so deeply absorbed was he in his work that at the end of each sitting I was soaking wet, as if I had been out in the rain without an umbrella…” The sculptor would periodically measure Shaw’s features against those of the bust: “If the bust's nose was too long, he sliced a bit out of it, and jammed the tip of it up to close the gap, with no more emotion or affectation than a glazier putting in a window pane. If the ear was in the wrong place, he cut it off and slapped it into its right place, excusing these cold-blooded mutilations to my wife (who half expected to see the already terribly animated clay bleed) by remarking that it was shorter than to make a new ear.” Réné Chéruy, Rodin’s secretary, recalled how the sculptor was very impressed by Shaw’s distinctive features, notably his two standing locks of hair and forked beard. Apparently on one occasion, Rodin interrupted his work and exclaimed, “Do you know, you look like—like the devil!” to which Shaw replied, “But I am the devil!” Other accounts differ. Anthony Ludovici, also private secretary to Rodin in 1906, recounted Rodin saying to him that Shaw’s features were Christ-like – “‘Une vrai tête de Christ’… and Madame Rodin concurred most emphatically.” The language barrier probably meant that Rodin did not fully grasp Shaw’s character or sense of humour. Ludovici thought the bust too meek and lacking the “roguishness” associated with Shaw. The writer however was pleased: “Look at my bust, and you will not find it a bit like that brilliant fiction known as G. B. S., or Bernard Shaw. But it is most frightfully like me. It is what is really there, not what you think is there… He saw me. Nobody else has done that yet.” The Shaws apparently paid £1000 for the commission (estimated as the equivalent of €120,000). They kept a bronze bust at their home and Bernard Shaw gave the portrait in marble to Hugh Lane Gallery in 1908. He gives a wonderful description of Rodin’s handling of this material: “…the marble has quite another sort of life; it glows, and light falls over it. It does not look solid; it looks luminous; and this curious glowing and flowing keeps people's fingers off it; for you feel as though you could not catch hold of it.” When Shaw proposed donating the bust to the new Dublin Gallery of Modern Art he wrote to Hugh Lane suggesting they should first consult with Rodin. Lane wrote to the artist who replied with a short telegram simply stating: “Yes, enchanted.” http://www.hughlane.ie/curators-choice/2883-george-bernard-shaw-by-auguste-rodin GEORGE BERNARD SHAW IN THE POSE OF “THE THINKER” 1906 by Alvin Langdon Coburn “George Bernard Shaw opened numerous doors for the young photographer Alvin Langdon Coburn, when he arrived in England in 1904 with the ambitious idea of making photographic portraits of all the celebrities of the day. Shaw introduced Coburn to Rodin, whom he knew well, having posed for a bust modelled by the sculptor. In 1906, the photographer and the writer attended the unveiling of The Thinker . On the way home, Shaw suggested that Coburn make a nude portrait of him, in the same pose as the sculpture, thereby launching a genre that would become popular in the 20th century.” Looks like MUSÉE RODIN realized George Bernard Shaw's pose doesn't match up they took the above photo off their website and search that's where i first downloaded the picture but now its being hidden and forgotten I imagine someone called them up and pointed out the major differences https://www.musee-rodin.fr/en/museum/collections/photographies/george-bernard-shaw-pose-thinker BetheLightthatradiatesunconditionalLoveForgiveHealandhaveFun:)

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