Work
Bourdelle's major work includes:
- spandrel reliefs for the portal of the Musée Grévin, Paris, 1900
- the Monument aux Morts de Montauban, 1902
- the freestanding gilded bronze Hercules the Archer, 1909
- the decorative series of friezes executed for the exterior of Auguste Perret's Théâtre des Champs-Élysées (1913). Although the building itself is famously an early example of concrete construction, the friezes are marble.
- interior frieze at the Opéra de Marseille, framing the stage
- the Monument to Mickiewicz near the Pont de l'Alma in Paris, designed in 1909, realized in 1929
- two angels on the crypt at the war memorial, Hartmannswillerkopf, for French architect Robert Danis, 1920s
- bronze tympanum Pieta for the Église Notre-Dame du Raincy, designed in the 1920s, finally realized and dedicated in September 1999
- equestrian statue of General Carlos María de Alvear, Recoleta, Buenos Aires
- war memorial, Capoulet-et-Junac
Today the Musée Bourdelle in Paris sits amidst brick houses at 18 rue Antoine Bourdelle, a small street between the Gare Montparnasse and the offices of the famous French newspaper Le Monde. The museum consists of Bourdelle's house, studio and garden where he worked from 1884 to 1929. A second Bourdelle garden-museum, in Égreville, was established by his heirs in the late 1960s hosts another 56 of his sculptures.
His work is also exhibited in public collections worldwide, including the Aichi Prefectural Museum of Art (Japan), the Cleveland Museum of Art, National Museum of Art of Romania, the Courtauld Institute of Art (London), the Fine Arts Museums of San Francisco, Galleria Nazionale d'Arte Moderna (Rome), Harvard University Art Museums, the Hermitage Museum, the Hirshhorn Museum and Sculpture Garden (Washington D.C.), the Honolulu Museum of Art, the Kimbell Art Museum (Fort Worth, Texas), Kröller-Müller Museum (Otterlo, Netherlands), the Minneapolis Institute of Arts, Museo Nacional de Bellas Artes (Buenos Aires), the National Galleries of Scotland, the National Gallery of Australia, the Ingres museum in Montauban, the Royal Museums of Fine Arts of Belgium, and the Middelheim Museum (Antwerp, Belgium)
Read more about this topic: Antoine Bourdelle
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“We might remind ourselves that criticism is as inevitable as breathing, and that we should be none the worse for articulating what passes in our minds when we read a book and feel an emotion about it, for criticizing our own minds in their work of criticism.”
—T.S. (Thomas Stearns)