Pierre de Wiessant, Colossal Head (Pierre de Wissant, tête colossale)
Brooklyn Museum photograph
Object Label
Rodin produced the final head of Pierre de Wiessant as an independent sculpture in three sizes—small, life-size, and this version: colossal. Isolation and enlargement amplify the burgher’s introspective agony to an almost unbearable intensity.
Caption
Auguste Rodin French, 1840–1917. Pierre de Wiessant, Colossal Head (Pierre de Wissant, tête colossale), ca. 1910; cast 1973. Bronze, 32 3/8 x 19 1/2 x 21 1/4 in. (82.2 x 49.5 x 54 cm). Brooklyn Museum, Gift of the Iris and B. Gerald Cantor Foundation, 84.75.20. Creative Commons-BY (Photo: Brooklyn Museum, 84.75.20_bw.jpg)
Gallery
Not on view
Collection
Gallery
Not on view
Collection
Artist
Cast by
Title
Pierre de Wiessant, Colossal Head (Pierre de Wissant, tête colossale)
Date
ca. 1910; cast 1973
Geography
Place made: France
Medium
Bronze
Classification
Dimensions
32 3/8 x 19 1/2 x 21 1/4 in. (82.2 x 49.5 x 54 cm)
Signatures
Base, proper right: "A. Rodin"
Inscriptions
Base, proper right, below signature: "No 5"
Markings
Back, base: "Susse Fondeur Paris" Copyright mark--Base, lower edge, proper left: "© by MUSEE RODIN 1973"
Credit Line
Gift of the Iris and B. Gerald Cantor Foundation
Accession Number
84.75.20
Rights
Creative Commons-BY
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Frequent Art Questions
Regarding the lost wax method, are the cast bronzes solid rather than hollow? That's what the video seemed to imply.
Lost wax can produce both solid and hollow bronzes. Most of Rodin’s works are sand cast, however. Rodin's large sculptures were typically cast hollow, although I believe some of the smaller ones are solid.Thanks, the video wasn't clear.We have been getting many questions about Rodin's process. One thing I was interested to learn is how involved Rodin was in selecting the surface patinas for the bronzes.
They all seem to have the same dark patina; I stand corrected:Yes! There are subtle variations—some have a green cast and others are more golden brown. These were important, as they altered the effect of light over the bronze surface.He looks so sad.
This head represents one of the many steps in Rodin's design process in composing the Burghers of Calais. Pierre de Wiessant, seen here, is one of six figures for the monument.Rodin was inspired by Gothic period representations of Christ as the "Man of Sorrows" when creating these emotionally tortured faces.Tell me more.
Pierre de Wiessant appears so many times in this exhibition. You may have noticed his nude figure when you first walked into the show. Here, Rodin has made a study of his head. Further into the exhibition, you will find the monumental, clothed version.As a part of Rodin's practice he would create various studies in the build up to the production of the final bronze. He took an innovative approach to the depiction of Pierre de Wiessant and his fellow burghers, citizens of the French city of Calais who offered their lives in order to save their city.Instead of portraying them as triumphant heroes, he depicts them in their final moments, as they are being marched towards their execution. The expression here certainly speaks to that.
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