GENERAL DESCRIPTION
This is one of two known versions of an undraped portrait bust of George Washington by the great French neoclassical sculptor Jean-Antoine Houdon. At the request of then French ambassador Thomas Jefferson for a full-length statue of Washington, Houdon journeyed in October 1785 from Paris to Mount Vernon, where he spent two weeks with the president and produced a plaster life mask. That life mask was used to create this portrait bust, as well as the model for the full-length statue of Washington now in the State Capitol in Richmond. This work recalls classical portrait busts, which Houdon knew from studies in Rome. He had adapted them to dazzling effect at the Paris Salons with portraits of great cultural and historical figures of France.
Excerpt from
William Keyse Rudolph , DMA Label copy, 2006.
NOTES
TMS record has been reviewed. Checked Piction.
No education file found for Houdon.
Faces of a Nation Label copy found in a fax from Gail Davitt to Eleanor Jones Harvey with these label drafts found in education files, and as an undated "American Portraits" research document, Education files.
I pulled the teaching resources prompts from this draft and added to the ongoing note for Jennie Russel to reformat into a Teaching Ideas CC.
Panama-Pacific catagloue photocopied in object file- Buste de Washington par Houdon, page 153.
Exposition Universelle et Internationale de San-Francisco, 1915. Panama-Pacific International Exposition. Catalogue Officiel de la Section Française.
L'un des modèles exécutés par l'artiste d'après le masque de WASHINGTON qu'il avait rapporté de Mount-Vernon en 1785. Plâtre peint à l'imitation du bronze antique, par-dessus une première couche couleur de terre cuite.
Added George Washington as the depicted individual.
Archived WKR label as a text entry.
Archived curatorial remarks as a text entry.
Pre acquisition exhibition:
1915: "Panama–Pacific International Exposition", San Francisco
Look for exhibition- Faces of a New Nation (1997-1998)
Look at DMFA bulletin- 1981
Object file has research about additional versions of this Houdon portrait and these cat entries mention the cachet d'atelier (signature or seal of the atelier). Houdon's Diderot terra cotta verion in Louvre initiated method of identifying works with a wax seal: ACADEM. ROYALE DE PEINTURE ET SCULPT. HOUDON SC.
Born at Versailles and trained in Rome, Houdon was an ambitious and successful sculptor when Thomas Jefferson, Minister to France, engaged him to create a lifesize marble statue of George Washington for the State of Virginia. Houdon crossed the Atlantic in 1785 to execute studies in terracotta and plaster, one of which remains at Mount Vernon.
The DMA work, undraped in the classical manner, is unusual in that it captures Washington in a relective rather than an active moment. By portraying him this way, Houdon puts Washington in the company of other 18th-century "philosophes," such as Voltaire and Diderot. We know that Jefferson favored this version, for an identical cast, now at the Boston Anthenaeum, came originally from Jefferson's collection.
Curatorial remarks in TMS.
Because of his heroism during the American Revolution (1776-1783) and his election to the Presidency in 1789, George Washington became an icon in American life and art. The bust by the French sculptor Houdon reveals an idealized portrait of a noble, enlightened leader more in the spirit of ancient Greece or Rome than of frontier America.
DMA Label copy (1980.113), August 1993.
Houdon's work and career are a good-example of the force of French classicism. He won the Prix de Rome, spending five years in Italy. On returning to Paris, he became a member of the Academy. His long ca.reer was devoted to realizing the classical virtues of simplicity, nobility, calm and balance. At the same time, he had a good eye for characteristic appearance and made many portraits of well-known political figures. The DMA bust of Washington was manufactured in connection with the large commission for a marble statue of Washington, now at the Virginia State Capitol in Richmond. Because it was necessary for Houdon to spend a considerable time in America, he capitalized on his work, by making numerous versions of this composition. Washington is shown as a dignified man of ancient Roman nobility. It is a timeless image, concentrating on the essence of Washington's role as "Father of his Country", in the tradition of Greek classicism. Later in his career, Houdon was equally successful at translating this classical taste to suit the imperial ambitions of Napoleon. Compare Rembrandt Peale's far more homely and down-to-earth realistic portrait of Washington.
Anne Bromberg, Object description (1980.113), DMA research document, Collections Records Object File, n.d.
This undraped portrait of only the head and shoulders is in the style of classical sculpture and identifies George Washington with the political ideas associated with ancient Rome. His thoughtful, almost weary expression draws attention to the first president's reflective and enduring character. Made of plaster and painted a terra-cotta color, this work is modeled after the original in Houdon's studio as were many other copies.
Excerpt from
DMA Exhibition Label Copy (1993.75) for Faces of a New Nation: Colonial American Portraits (October 19, 1997- January 10, 1998), September 1997.
This is one of several portraits of George Washington by the French sculptor Houdon. When Houdon travelled to America, in the early days of our country, in order to make studies of George Washington, this involved a lengthy journey by sailing ship and on horseback, so naturally Houdon wished to make the most of his stay in America. He made a number of versions of Washington, including full length statues, preliminary studies, marble busts and plaster busts, like this one. The bust reveals the way Houdon idealized Washington's, "rather plain, middle-aged features and beaky nose," into a kind of Roman Hero, gazing sternly into the future.
Through the Looking Glass- teacher follow-up packet
Exhibition 11317
This work combines the artistic excellence of one of the 18th century's leading sculptors with a subject of obvious national importance. Houdon traveled to the U.S. in 1785 to make studies for a marble sculpture of George Washington, a commission he had received from the State of Virginia through the intervention of Thomas Jefferson. In the course of this project and before completion of the life-size standing marble sculpture of Washington now in the Virginia Capitol building (signed 1788), he produced a number of bust length portraits in terra-cotta, plaster, and bronze, which vary in details of clothing, hair, etc. Our version is done "a l'antique", without drapery. A terra-cotta model for this version is at Mount Vernon (signed 1785); the only other known plaster of this version is in the Boston Athenaeum (ex-coll. Thomas Jefferson).
DMA Acquisition proposal (1980.113), no date or author based on the justification report shown in TMS.
Catalogue essays
Artist/designers
Cultures
Geography
Place of origin: Mount Vernon (inhabited place/Virginia/United States): TGN: 2111632
Process/materials
Sculpture
painted plaster
Historical periods
c.1786 France
c.1786 U.S.
Individuals
George Washington
Subject terms
bust
portrait
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- George Washington Life Mask~Get a closer look at Houdon's original plaster cast of George Washington's face through this interactive display at The Morgan Library & Museum's website.
- Rediscovering an American Icon~Learn more about Houdon's statue of George Washington through this article on the Colonial Williamsburg Official History & Citizenship Site.
ARCHIVAL RESOURCES
FUN FACTS
- The paperwork accompanying this donation includes the 1915 U.S. Customs import label for the Panama-Pacific International Exposition as well as the number assigned to the sculpture for display in the Exposition.
TEACHING IDEAS
RULES
Apply to objects where number equals 1980.113
Category
rules_operator
AND
General Description
This is one of two known versions of an undraped portrait bust of George Washington by the great French neoclassical sculptor Jean-Antoine Houdon. At the request of then French ambassador Thomas Jefferson for a full-length statue of Washington, Houdon journeyed in October 1785 from Paris to Mount Vernon, where he spent two weeks with the president and produced a plaster life mask. That life mask was used to create this portrait bust, as well as the model for the full-length statue of Washington now in the State Capitol in Richmond. This work recalls classical portrait busts, which Houdon knew from studies in Rome. He had adapted them to dazzling effect at the Paris Salons with portraits of great cultural and historical figures of France.
Excerpt from
William Keyse Rudolph , DMA Label copy, 2006.
Fun Facts
- The paperwork accompanying this donation includes the 1915 U.S. Customs import label for the Panama-Pacific International Exposition as well as the number assigned to the sculpture for display in the Exposition.
Archival Resources
Web Resources
- George Washington Life Mask~Get a closer look at Houdon's original plaster cast of George Washington's face through this interactive display at The Morgan Library & Museum's website.
- Rediscovering an American Icon~Learn more about Houdon's statue of George Washington through this article on the Colonial Williamsburg Official History & Citizenship Site.
Notes
TMS record has been reviewed. Checked Piction.
No education file found for Houdon.
Faces of a Nation Label copy found in a fax from Gail Davitt to Eleanor Jones Harvey with these label drafts found in education files, and as an undated "American Portraits" research document, Education files.
I pulled the teaching resources prompts from this draft and added to the ongoing note for Jennie Russel to reformat into a Teaching Ideas CC.
Panama-Pacific catagloue photocopied in object file- Buste de Washington par Houdon, page 153.
Exposition Universelle et Internationale de San-Francisco, 1915. Panama-Pacific International Exposition. Catalogue Officiel de la Section Française.
L'un des modèles exécutés par l'artiste d'après le masque de WASHINGTON qu'il avait rapporté de Mount-Vernon en 1785. Plâtre peint à l'imitation du bronze antique, par-dessus une première couche couleur de terre cuite.
Added George Washington as the depicted individual.
Archived WKR label as a text entry.
Archived curatorial remarks as a text entry.
Pre acquisition exhibition:
1915: "Panama–Pacific International Exposition", San Francisco
Look for exhibition- Faces of a New Nation (1997-1998)
Look at DMFA bulletin- 1981
Object file has research about additional versions of this Houdon portrait and these cat entries mention the cachet d'atelier (signature or seal of the atelier). Houdon's Diderot terra cotta verion in Louvre initiated method of identifying works with a wax seal: ACADEM. ROYALE DE PEINTURE ET SCULPT. HOUDON SC.
Born at Versailles and trained in Rome, Houdon was an ambitious and successful sculptor when Thomas Jefferson, Minister to France, engaged him to create a lifesize marble statue of George Washington for the State of Virginia. Houdon crossed the Atlantic in 1785 to execute studies in terracotta and plaster, one of which remains at Mount Vernon.
The DMA work, undraped in the classical manner, is unusual in that it captures Washington in a relective rather than an active moment. By portraying him this way, Houdon puts Washington in the company of other 18th-century "philosophes," such as Voltaire and Diderot. We know that Jefferson favored this version, for an identical cast, now at the Boston Anthenaeum, came originally from Jefferson's collection.
Curatorial remarks in TMS.
Because of his heroism during the American Revolution (1776-1783) and his election to the Presidency in 1789, George Washington became an icon in American life and art. The bust by the French sculptor Houdon reveals an idealized portrait of a noble, enlightened leader more in the spirit of ancient Greece or Rome than of frontier America.
DMA Label copy (1980.113), August 1993.
Houdon's work and career are a good-example of the force of French classicism. He won the Prix de Rome, spending five years in Italy. On returning to Paris, he became a member of the Academy. His long ca.reer was devoted to realizing the classical virtues of simplicity, nobility, calm and balance. At the same time, he had a good eye for characteristic appearance and made many portraits of well-known political figures. The DMA bust of Washington was manufactured in connection with the large commission for a marble statue of Washington, now at the Virginia State Capitol in Richmond. Because it was necessary for Houdon to spend a considerable time in America, he capitalized on his work, by making numerous versions of this composition. Washington is shown as a dignified man of ancient Roman nobility. It is a timeless image, concentrating on the essence of Washington's role as "Father of his Country", in the tradition of Greek classicism. Later in his career, Houdon was equally successful at translating this classical taste to suit the imperial ambitions of Napoleon. Compare Rembrandt Peale's far more homely and down-to-earth realistic portrait of Washington.
Anne Bromberg, Object description (1980.113), DMA research document, Collections Records Object File, n.d.
This undraped portrait of only the head and shoulders is in the style of classical sculpture and identifies George Washington with the political ideas associated with ancient Rome. His thoughtful, almost weary expression draws attention to the first president's reflective and enduring character. Made of plaster and painted a terra-cotta color, this work is modeled after the original in Houdon's studio as were many other copies.
Excerpt from
DMA Exhibition Label Copy (1993.75) for Faces of a New Nation: Colonial American Portraits (October 19, 1997- January 10, 1998), September 1997.
This is one of several portraits of George Washington by the French sculptor Houdon. When Houdon travelled to America, in the early days of our country, in order to make studies of George Washington, this involved a lengthy journey by sailing ship and on horseback, so naturally Houdon wished to make the most of his stay in America. He made a number of versions of Washington, including full length statues, preliminary studies, marble busts and plaster busts, like this one. The bust reveals the way Houdon idealized Washington's, "rather plain, middle-aged features and beaky nose," into a kind of Roman Hero, gazing sternly into the future.
Through the Looking Glass- teacher follow-up packet
Exhibition 11317
This work combines the artistic excellence of one of the 18th century's leading sculptors with a subject of obvious national importance. Houdon traveled to the U.S. in 1785 to make studies for a marble sculpture of George Washington, a commission he had received from the State of Virginia through the intervention of Thomas Jefferson. In the course of this project and before completion of the life-size standing marble sculpture of Washington now in the Virginia Capitol building (signed 1788), he produced a number of bust length portraits in terra-cotta, plaster, and bronze, which vary in details of clothing, hair, etc. Our version is done "a l'antique", without drapery. A terra-cotta model for this version is at Mount Vernon (signed 1785); the only other known plaster of this version is in the Boston Athenaeum (ex-coll. Thomas Jefferson).
DMA Acquisition proposal (1980.113), no date or author based on the justification report shown in TMS.
Catalogue essays
Artist/designers
Cultures
Geography
Place of origin: Mount Vernon (inhabited place/Virginia/United States): TGN: 2111632
Process/materials
Sculpture
painted plaster
Historical periods
c.1786 France
c.1786 U.S.
Individuals
George Washington
Subject terms
bust
portrait
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1980.113
source file
object_notes_2_c-0304.xml.nores