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e- lesson : COMPARING SCULPTURES

e- lesson : COMPARING SCULPTURES. THREE EQUESTRIAN STATUES Méthodologie et outils linguistiques pour la comparaison d’œuvres. LES REPONSES FIGURENT SUR LA DERNIERE DIAPOSITIVE.

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e- lesson : COMPARING SCULPTURES

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  1. e-lesson:COMPARING SCULPTURES THREE EQUESTRIAN STATUES Méthodologie et outils linguistiques pour la comparaison d’œuvres LES REPONSES FIGURENT SUR LA DERNIERE DIAPOSITIVE

  2. Introduction In the introduction you have to explain why you chose these works, you have to give the nature or type of objects you will describe and announce the structure of your paper. I have chosento compare threedifferentequestrian statues datingfromthreeperiods: the Roman period, the middle ages, and the nineteenthcentury. It seems to me interesting to draw a comparisonbetweenthreeequestrian statues. The sculptures that I shall analyse are from the Roman, the medieval, and the Victorianperiod. Equestrian statues oftencelebratemilitary leaders mounting on horseback. FromGreekantiquity to modern times, somesculptorswerecommissioned large-scale sculptures representingemperors or rulers in militaryoutfit . Theseworksemphasizedtheirpowerfulness and glory. Weshall focus first on the political dimension of theseequestrian statues, secondly on stylisticevolutions. 1 Quel temps emploie-t-on pour parler du choix qu’on a fait ? 2 Comment dit-on faire une comparaison ? Mettre l’accent sur ? Se concentrer sur ? 3 Comment dit-on être à cheval ? En costume militaire ? 4 Comment dit-on commanditer une œuvre ?

  3. The image of the ruler Both the equestrian statue of Marcus Aurelius and the statuette of Charlemagne celebrate the glory of the characters. The ancient Roman statue is more than 3 meter-high and was initially displayed in the Campidoglio in Rome. It was erected in 176 AD. The statue of the Caroligian emperor, found in Metz cathedral, dates from 1567. Though it was cast later than the statue of Marcus Aurelius, there are many common points between the two works. In both cases, one of the horse’s hoofs is raised. The two rulers are therefore showed parading. The two animals are cast in the same position though the horse mounted by the Roman emperor is more fiery and mettlesome than the one mounted by Charlemagne. His head and mane (crinière) are quite different from those of the medieval horse. They strengthen the impression of mightiness (puissance) and prestige that comes out of the statue.

  4. Comparatifs et superlatifs

  5. TRADUISEZ: • 5 La statue en bronze est mieux préservée que celle en bois. • 6 Le personnage de droite est plus réaliste que celui de gauche. • 7 Le sculpture du British Museum est la plus merveilleuse. • 8 Le buste semble aussi ressemblant que le portrait en pied. • 9 Le sculpteur a consacré plus de temps aux détails du vêtement qu’au visage. • 10 La partie la moins réussie est le socle.

  6. Marcus Aurelius is represented as a victorius, all conquering emperor. In the same way, the globe and sword hold by Charlemagne assert his power. While (whereas) the Carolingian ruler holds symbols of authority, the Roman emperor stretches his right hand forward towards the people. However, the two equestrian statues are very similar to one another: they assert the power of the ruler. Besides, the two sculptures were cast in bronze, a material known for its resistance. These public works were meant to last as their prime function was to remind the future generations, as well as the people, of the ruler’s absolute power. 11 Comment dit-on de la même manière ? 12 Comment dit-on étendre la main vers l’avant ? Etre destiné à durer ?

  7. Contrary to the first two works, Watt’s equestrian statue celebrates physical energy, as the title of the sculpture indicates. The horse designed by Watts is as fiery as Marcus Aurelius’, even more so as his hind legs are tenser and his body markedly more stretched. Even though one may point out similiarities with the two previous works, the sculptor’s intention is not so much to assert the power of his commissioner as to give the passer-bys (les passants) a sense of absolute strength. The scope of the works is thenceforth quite different.

  8. En imitant la structure suivante traduisez les phrases de droite: the sculptor’s intention is not so much to assert the power of his commissioner as to give the passer-bys a sense of absolute strength. • 13 L’intention du sculpteur n’est pas tant de suggérer le mouvement que de représenter des émotions. • 14 La fonction de cette œuvre n’était pas tant de représenter le roi de manière fidèle que d’affirmer son autorité.

  9. 2. Stylistic evolution: brush up the comparative and superlative forms The horse is far more undauntedthan the others. The figure of Charlemagne islessdetailedthan the others. Charlemagne’s stance is not as arrogant as the others’. Watt’sworkis the most expressive of the three. The least epicdepictionis the medieval one: the horse and its rider are cast in a mostsedate position. 15 TRADUISEZ LES TROIS PHRASES EN ROUGE Over the centuries, the tradition of the equestrian statue has become more and more romantic. The tenser the muscles are, the more fiery the horse looks. The rougher the surface of the bronze is, the more impressive the contrast between bright and shadowy areas. The higher, more bulky the horse, the more impressive the work. Watt’s sculpture is all the more impressive as both the horse and the rider lean backwards. (D’autant plus impressionant que) Watt’s horse-rider is all the more dynamic as it is placed on a sloping pedestal.

  10. Conclusion The comparison between the three works has enabled us to (nous a permis) to underline (souligner) the continuity and similarities that characterize this type of sculpture. In spite of stylistic differences, the message of such works remains the same: the artist celebrates the mightiness of the ruler, who is also incidentally the commissioner of the work.

  11. Answers 1 On emploie le présent perfect. 2 Draw a comparison – emphasize – focus on 3 be on horseback – in military outfit 4 commission a work 5 The bronze statue is in a better state than the wooden one. 6 The figure on the left is more life-like than that on the right. 7 The BM sculpture is the most wonderful one. 8 The bust looks as life-like as the full-length portrait. 9 The sculptor devoted more time to the details of the costume than to the face. 10 The least successful part of the work is the pedestal. 11 In the same way 12 Stretch one’s hand forward – be meant to last 13 The intention of the sculpture was not so much to suggest movement as to depict emotions. 14 The function of the work was not so much to make a faithful portrait of the king as to assert his authority.

  12. 15 The tenser the muscles are, the more fiery the horse looks. Plus les muscles sont tendus, plus le cheval a l’air fougueux. The rougher the surface of the bronze is, the more impressive the contrast between bright and shadowy areas. Plus la surface du bronze est rugueuse, plus le contraste entre les zones sombres et les zones lumineuses est saisissant. The higher, more bulky the horse, the more impressive the work. Plus le cheval est haut et massif, plus l’œuvre est impressionante.

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