Thinker plaster, 1904/05
National Museum, Poznan
Al. Marcinkowskiego 9,
61-745 Poznań, Poland
Tel. +48 - 61 - 856 80 00
Fax +48 - 61 - 851 58 98
Curator for 19th Century Art: Piotr Michalowski
The National Museum in Poznan was called the Kaiser-Friedrich-Museum
in the days Poland still was a part of the German Empire - till 1918.
Between 1939 and 1945, the Germans occupied Poland again.
The Museum owns an original plaster version (183.5 cm) of the
enlarged Thinker, donated in 1905 by P.W. Uhle, owner of Uhlenhof Estate
(now Gorzewo, Obornik).
Unfortunately, this Website is not ready yet and at the
moment only shows a photo of the Museum.
Levél a könyvtárnak
Museum of Fine Arts, Budapest
Tel. +36 - 1 - 343 - 97 59 (Information)
Fax +36 - 1 - 343 - 82 98
Curator for Sculpture: Janos Eisler
The Budapest Museum was among those institutions that ordered work
from Rodin at the Paris World Exhibition in 1900, thus helping Rodin to
cover the considerable costs for his pavillion. Today, following works
are on display:
The Age of Bronze, lifesize paper-maché cast, purchased from
the artist in 1900 [Spear pl. 128 S] (another paper-maché copy is in
Kiss, bronze (reduced)
Sirens, bronze, enlarged version, H. 17"
Jean-Paul Laurens, bronze
the sculptor Falguière, bronze
The Museum also owns some drawings, among which:
à l´atelier [Eros, p. 153]
Sévèrine, 1893, charcoal, 32.1 x 27 cm
[Lampert Nr. 159, pl. 266]
Narodni Gallery, Prague
Prague 7, Dukelskych hrdinu 47
Tel. +420 - 2 - 24 30 10 24
The Bohemian Manès Societey organized a major Rodin exhibition in
Spring 1902, comprising 88 sculptures and nearly as many drawings - by
far the most complete Rodin exhibition during the artist´s lifetime,
according to Grunfeld. For this purpose, a glasshouse was built in the
Kinsky Garden. On March 1, 1909, Bourdelle was speaker at the Congress
"Rodin and Sculpture" in the Prague National Club.
SEE MAJOR COLLECTIONS
MIMARA MUSEUM, ZAGREB
Rooseveltov Trg 5
HR-10000 Zagreb, Hrvatska
Tel. + 385 - 1 - 48 28 100
Fax + 385 - 1- 45 51 359
Croatia ist the homeland of the sculptor Ivan Metrović, who
moved to Paris where he lived 1905-1907. His exhibition in the Salon
d'Automne attracted the attention of Auguste Rodin who commented that
'Metrović was the greatest phenomenon among sculptors.'
The Zagreb Museum is based on works from the collection of Ante
Topić Mimara. The Website states the sculpture collection includes
works from classical antique sculpture, to medieval, to Rodin. Further
enquiries learned me, though, that the sculpture work formerly
attributed to Rodin now is thought to be produced by Medardo Rosso. The
authenticity of a paper sheet with a sketch of Balzac's statue and two
female figures reminding of Rodin's sapphistic figures in motion is also
questioned now by Slaven Perović, Senior Curator of Drawings, since
he discovered an almost vanished seal in the right corner. After UV
photography, the name of Jean Veber could be read here. Still unclear is
if the drawings were produced by Veber or merely have been his property.
The 1968 Rodin exhibition at the Umetnicki Paviljon (Art Pavillion)
was organized by the Zagreb Museum of
Modern Art(formerly Galerije Grada Zagreba), which does not own any
Rodinwork but was so kind to send me the 1968 catalog:
Cécile Goldscheider (Hrsg.) Auguste Rodin, 1840-1917
Galerije Grada Zagreba,  Catalog of an exhibition held July 3-Aug.
25, 1968, Umetnicki Paviljon.
C. Brancusi, Sleep,
1908, white marble
National Museum of Art, Bucharest
Calea Victoriei no. 49-53,
70101 Bucharest, Romania
Tel. (401) 315 51 93
Fax (401) 312 43 27
Mariana Dragu, Curator for European Painting and
Romania's leading art museum was founded in 1948 to house the former
Royal Collection along with those of various other museums in Bucharest.
The Museum´s Website mentions an exhibition on the Romanian
sculptor Constantin Brancusi (1876 -1957), held 1999, comprising
thirteen sculptures from the Museum's collection. Brancusi, arriving in
Paris by 1904, had learned from Rodin but deliberately tried to escape
from his influence, in order to develop his own style. The exhibition
documents Brancusi´s change toward a personal sculptural idiom.