Selected WorkSelected WorkMonument to Peter The Great, St. Monument to Peter The Great, St.

Petersburg, Etienne-Maurice Falconet, Petersburg, Etienne-Maurice Falconet, Completed 1782Completed 1782

Pg. 63-66Pg. 63-66Azalia Martinez Azalia Martinez

PatronagePatronageMonument to Peter the Great- The Bronze Monument to Peter the Great- The Bronze

HorsemanHorseman Represents Peter the Great Represents Peter the Great Was commissioned by Catherine the GreatWas commissioned by Catherine the Great Installed in 1782Installed in 1782 Why? She was married into the Romanov family Why? She was married into the Romanov family Making connection shows desire for surpassing Making connection shows desire for surpassing

PeterPeter ““Petro Primo Catherina Secunda MDCCLXXXII” Petro Primo Catherina Secunda MDCCLXXXII”

(Latin for Catherine the second to Peter the first, (Latin for Catherine the second to Peter the first, 1782) 1782)

Location: Looks over River NevaLocation: Looks over River Neva Importance: River shows growth of the Importance: River shows growth of the

city, Peter built his first home by the river’s city, Peter built his first home by the river’s bank, location is renovated later on and bank, location is renovated later on and becomes a public square close to St. becomes a public square close to St. Isaac’s Cathedral, Winter Palace, and Isaac’s Cathedral, Winter Palace, and HermitageHermitage

Square is supposed to represent the Square is supposed to represent the church and the statechurch and the state

Artist’s BiographyArtist’s Biography

Catherine always looked for sculptors and Catherine always looked for sculptors and architects from Francearchitects from France

Etienne- Maurice Falconet (1716-1791)Etienne- Maurice Falconet (1716-1791) First task in RussiaFirst task in Russia Born to a poor family in ParisBorn to a poor family in Paris Received help from Jean Baptiste Received help from Jean Baptiste

LemoyneLemoyne Joins Academie des Beaux- Arts, 1757Joins Academie des Beaux- Arts, 1757

1757- serves as the director of sculpture at 1757- serves as the director of sculpture at Sevres porcelain factorySevres porcelain factory

Traveled to Russia in 1766Traveled to Russia in 1766 Worked with pupil Anne-Marie CollotWorked with pupil Anne-Marie Collot She worked on Peter’s faceShe worked on Peter’s face Became very well known in St. PetersburgBecame very well known in St. Petersburg Has several exhibits at the Heritage MuseumHas several exhibits at the Heritage Museum 1778- Collot and Falconet went back to Paris 1778- Collot and Falconet went back to Paris Collot marries Falconet's son, Pierre- Etienne: Collot marries Falconet's son, Pierre- Etienne:

also an artistalso an artist

Does not see the installation of the Does not see the installation of the sculpture because he is no longer one of sculpture because he is no longer one of Catherine's favoritesCatherine's favorites

Becomes successful academic sculptorBecomes successful academic sculptor 1788- Director of the Academie de Beaux- 1788- Director of the Academie de Beaux-

Art Art Wrote several texts on sculptureWrote several texts on sculpture

The Bronze HorsemanThe Bronze Horseman

Visual AnalysisVisual Analysis

Peter the Great on horsebackPeter the Great on horseback Even though the horse is on its hind legs, Even though the horse is on its hind legs,

Peter remains calmPeter remains calm Right hand extended towards riverRight hand extended towards river Has classical attire and laurel wreath on Has classical attire and laurel wreath on

his headhis head Face is calm with idealized feature of Face is calm with idealized feature of

Peter the GreatPeter the Great

Sculpture is about 20 feet highSculpture is about 20 feet high Cast bronzeCast bronze Lost- Wax Casting Technique- laborious Lost- Wax Casting Technique- laborious

and expensiveand expensive Pedestal- carved from a red gigantic red Pedestal- carved from a red gigantic red

granite bouldergranite boulder 25ft tall25ft tall Boulder known as Thunder StoneBoulder known as Thunder Stone Locals believed it got its form after being Locals believed it got its form after being

struck by lightningstruck by lightning Creates illusion of Peter looking out of a Creates illusion of Peter looking out of a

cliffcliff

Artistic InfluencesArtistic Influences Influenced by Influenced by

Western art (leaders Western art (leaders on horseback)on horseback)

The sculpture of The sculpture of Marcus AureliusMarcus Aurelius

Both have an Both have an outstretched hand, outstretched hand, which might be a which might be a symbol for a symbol for a blessing or blessing or clemencyclemency

Neither have Neither have armor= comes in armor= comes in peace not warpeace not war

Equestrian Sculpture revived in European Equestrian Sculpture revived in European RenaissanceRenaissance

Form of classic artForm of classic art Popular in FrancePopular in France Horse represents the stateHorse represents the state Leader on its back controls the stateLeader on its back controls the state Horse on its hind legs represents the Horse on its hind legs represents the

difficulty of the taskdifficulty of the task

Contextual AnalysisContextual Analysis

Became known as the Bronze Horseman Became known as the Bronze Horseman in the 19in the 19thth Century Century

Alexander Pushkin refers to it as the Alexander Pushkin refers to it as the Bronze Horseman in a poem he wroteBronze Horseman in a poem he wrote

Poem is about the conflict between the Poem is about the conflict between the power of the state and the needs of the power of the state and the needs of the peoplepeople

Sculpture has a protective role over the Sculpture has a protective role over the citycity