Split (1)

train · 367k rows

text stringlengths 9 2.4k
Aristide Maillol Aristide Joseph Bonaventure Maillol (; December 8, 1861 – September 27, 1944) was a French sculptor, painter, and printmaker. He began his career as a painter and developed an early interest in the decorative arts. He became primarily interested in sculpture from his early 40s. Maillol was one of the most famous sculptors of his time. His work inspired artists such as Picasso, Henri Matisse and Henry Moore. Biography. Maillol was born in Banyuls-sur-Mer, Roussillon. He decided at an early age to become a painter, and moved to Paris in 1881 to study art. After several applications and several years of living in poverty, his enrollment in the École des Beaux-Arts was accepted in 1885, and he studied there under Jean-Léon Gérôme and Alexandre Cabanel. His early paintings show the influence of his contemporaries Pierre Puvis de Chavannes and Paul Gauguin. Gauguin encouraged his growing interest in decorative art, an interest that led Maillol to take up tapestry design. In 1893 Maillol opened a tapestry workshop in Banyuls, producing works whose high technical and aesthetic quality gained him recognition for renewing this art form in France. He began making small terracotta sculptures in 1895, and within a few years his concentration on sculpture led to the abandonment of his work in tapestry.
In July 1896, Maillol married Clotilde Narcis, one of his employees at his tapestry workshop. Their only son, Lucian, was born that October. Maillol's first major sculpture, "A Seated Woman", was modeled after his wife. The first version (in the Museum of Modern Art, New York) was completed in 1902, and renamed "La Méditerranée". Maillol, believing that "art does not lie in the copying of nature", produced a second, less naturalistic version in 1905. In 1902, the art dealer Ambroise Vollard provided Maillol with his first exhibition. The subject of nearly all of Maillol's mature work is the female body, treated with a classical emphasis on stable forms. The figurative style of his large bronzes is perceived as an important precursor to the greater simplifications of Henry Moore, and his serene classicism set a standard for European (and American) figure sculpture until the end of World War II. Josep Pla said of Maillol, "These archaic ideas, Greek, were the great novelty Maillol brought into the tendency of modern sculpture. What you need to love from the ancients is not the antiquity, it is the sense of permanent, renewed novelty, that is due to the nature and reason."
His important public commissions include a 1912 commission for a monument to Cézanne, as well as numerous war memorials commissioned after World War I. Maillol served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal (1919–1954) a grant awarded to painters, sculptors, decorators, engravers, writers, and musicians. He made a series of woodcut illustrations for an edition of Vergil's "Eclogues" published by Harry Graf Kessler in 1926–27. He also illustrated "Daphnis and Chloe" by Longus (1937) and "Chansons pour elle" by Paul Verlaine (1939). He died in Banyuls at the age of eighty-two, in an automobile accident. While driving home during a thunderstorm, the car in which he was a passenger skidded off the road and rolled over. A large collection of Maillol's work is maintained at the Musée Maillol in Paris, which was established by Dina Vierny, Maillol's model and platonic companion during the last 10 years of his life. His home a few kilometers outside Banyuls, also the site of his final resting place, has been turned into a museum, the Musée Maillol Banyuls-sur-Mer, where a number of his works and sketches are displayed.
Three of his bronzes grace the grand staircase of the Metropolitan Opera House in New York City: "Summer" (1910–11), "Venus Without Arms" (1920), and" Kneeling Woman: Monument to Debussy" (1950–55). The third, the artist's only reference to music, is a copy of an original created for the French city of Saint-Germain-en-Laye, Claude Debussy's birthplace. Nazi-looted art. During the German occupation of France, dozens of artworks by Maillol were seized by the Nazi looting organization known as the E.R.R. or Reichsleiter Rosenberg Taskforce. The Database of Art Objects at the Jeu de Paume lists thirty artworks by Maillol. The German Lost Art Foundation database lists 33 entries for Maillol. The German Historical Museum's database for artworks recovered by the Allies at the Munich Central Collecting Point has 13 items related to Maillol. Maillol's sculpture "Head of Flora" was found in the stash of Cornelius Gurlitt, son of Hitler's art dealer Hildebrand Gurlitt together with lithographs, drawings and paintings.
A photograph from May 24, 1946, shows "Six men, members of the Monuments, Fine Arts & Archives section of the military, prepare Aristide Maillol's sculpture "Baigneuse à la draperie", looted during World War II for transport to France. Sculpture is labeled with sign: Wiesbaden, no. 31." Jewish art collectors whose artworks by Maillol were looted by Nazis include Hugo Simon, Alfred Flechtheim and many others. Legacy and Contemporary Influence. Aristide Maillol's work has had a profound and enduring impact on both modern and contemporary art, particularly within the realms of sculpture, the representation of the human body, and the revival of classical forms in the 20th century. His restrained, monumental approach to the female figure influenced numerous artists, sparking discussions about form, abstraction, and the essence of sculpture itself. One of Maillol's most significant contributions was his rejection of the exaggerated dynamism that characterized much of late 19th-century sculpture, notably the work of his contemporary, Auguste Rodin. Maillol's figures, with their serene and stable forms, marked a return to classical simplicity and purity. This approach resonated with artists like Henry Moore, who cited Maillol as an early influence on his own move toward abstraction and monumentality. Moore admired the way Maillol's work avoided excessive detail, allowing the essential form of the human body to take precedence. In his 1941 writings, Moore stated, "Maillol's influence was important to me because of the calm and permanence that his figures suggest, as well as his return to classical balance and volume." </ref>
Additionally, Hans Arp, a Dadaist and Surrealist artist, found inspiration in Maillol's organic forms, which he believed offered a "timeless universality." Arp's abstracted, rounded sculptures share a kinship with Maillol's pursuit of essential, elemental forms, though Arp pushed these ideas further into abstraction. Art historians such as Hilton Kramer and Albert Elsen have extensively discussed Maillol's unique place in modern sculpture. Kramer remarked that Maillol's works possess an "elemental calm" and reflect an anti-Romantic sentiment, contrasting sharply with the emotional intensity of Rodin. Elsen, in his study of Maillol's work, argued that his influence can be seen in the development of modernist sculpture, particularly through his focus on the essential harmony of form and space, a concept that paved the way for mid-century minimalism. In more recent decades, Maillol's sculptures have continued to inspire contemporary artists exploring themes of memory, identity, and the body. The French-Lebanese contemporary artist Oliver Aoun incorporated Maillol's sculptures into his project "Lisa Rediviva" (2012), which juxtaposes classical representations of the female form with fragmented images of the Mona Lisa. Aoun's work engaged with the legacy of Western iconography, questioning the colonial and patriarchal structures embedded within these revered forms. In reinterpreting Maillol's figures, Oliver Aoun critiqued the traditional Western gaze and proposed a more inclusive dialogue around the representation of women in art.
Furthermore, exhibitions such as the 2011 show at the Musée Maillol in Paris, which focused on the dialogue between Maillol and contemporary sculptors, underscore the relevance of his oeuvre in ongoing conversations about the body, space, and abstraction. Artists such as Jean-Michel Othoniel and Louise Bourgeois have also been said to engage with the themes of solidity and fluidity in ways that echo Maillol's approach to form. Maillol's influence persists not only in sculpture but also in broader conversations about the role of classical ideals in contemporary art, inviting ongoing re-evaluation and reinterpretation.
Antonio Canova Antonio Canova (; 1 November 1757 – 13 October 1822) was an Italian Neoclassical sculptor, famous for his marble sculptures. Often regarded as the greatest of the Neoclassical artists, his sculpture was inspired by the Baroque and the classical revival, and has been characterised as having avoided the melodramatics of the former, and the cold artificiality of the latter. Life. Possagno. In 1757, Antonio Canova was born in the Venetian Republic city of Possagno to Pietro Canova, a stonecutter, and Angela Zardo Fantolin. In 1761, his father died. A year later, his mother remarried. As such, in 1762, he was put into the care of his paternal grandfather Pasino Canova, who was a stonemason, owner of a quarry, and was a "sculptor who specialized in altars with statues and low reliefs in late Baroque style". He led Antonio into the art of sculpting. Before the age of ten, Canova began making models in clay, and carving marble. Indeed, at the age of nine, he executed two small shrines of Carrara marble, which are still extant. After these works, he appears to have been constantly employed under his grandfather.
Venice. In 1770, he was an apprentice for two years to Giuseppe Bernardi, who was also known as 'Torretto'. Afterwards, he was under the tutelage of Giovanni Ferrari until he began his studies at the Accademia di Belle Arti di Venezia. At the academy, he won several prizes. During this time, he was given his first workshop within a monastery by some local monks. The Senator Giovanni Falier commissioned Canova to produce statues of Orpheus and Eurydice for his garden – the Villa Falier at Asolo. The statues were begun in 1775, and both were completed by 1777. The pieces exemplify the late Rococo style. On the year of their completion, both works were exhibited for the Feast of the Ascension in Piazza San Marco. Widely praised, the works won Canova his first renown among the Venetian elite. Another Venetian who is said to have commissioned early works from Canova was the abate Filippo Farsetti, whose collection at Ca' Farsetti on the Grand Canal he frequented. In 1779, Canova opened his own studio at Calle Del Traghetto at S. Maurizio. At this time, Procurator Pietro Vettor Pisani commissioned Canova's first marble statue: a depiction of Daedalus and Icarus. The statue inspired great admiration for his work at the annual art fair; Canova was paid 100 gold zecchini for the completed work. At the base of the statue, Daedalus' tools are scattered about; these tools are also an allusion to Sculpture, of which the statue is a personification. With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino.
Rome. Canova arrived in Rome, on 28 December 1780. Prior to his departure, his friends had applied to the Venetian Senate for a pension. Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years. While in Rome, Canova spent time studying and sketching the works of Michelangelo. In 1781, Girolamo Zulian – the Venetian ambassador to Rome – hired Canova to sculpt "Theseus and the Minotaur". Zulian played a fundamental role in Canova's rise to fame, turning some rooms of his palace into a studio for the artist and placing his trust in him despite Canova's early critics in Rome. The statue depicts the victorious Theseus seated on the lifeless body of a Minotaur. The initial spectators were certain that the work was a copy of a Greek original, and were shocked to learn it was a contemporary work. The highly regarded work is now in the collection of the Victoria & Albert Museum, in London. Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to Clement XIV for the Church of Santi Apostoli. After another two years, the work met completion in 1787. The monument secured Canova's reputation as the pre-eminent living artist.
In 1792, he completed another cenotaph, this time commemorating Clement XIII for St. Peter's Basilica. Canova harmonized its design with the older Baroque funerary monuments in the basilica. In 1790, he began to work on a funerary monument for Titian, which was eventually abandoned by 1795. During the same year, he increased his activity as a painter. Canova was notoriously disinclined to restore sculptures. However, in 1794 he made an exception for his friend and early patron Zulian, restoring a few sculptures that Zulian had moved from Rome to Venice. The following decade was extremely productive, beginning works such as "Hercules and Lichas", "Cupid and Psyche", "Hebe", "Tomb of Duchess Maria Christina of Saxony-Teschen", and "The Penitent Magdalene". In 1797, he went to Vienna, but only a year later, in 1798, he returned to Possagno for a year. France and England. By 1800, Canova was the most celebrated artist in Europe. He systematically promoted his reputation by publishing engravings of his works and having marble versions of plaster casts made in his workshop. He became so successful that he had acquired patrons from across Europe including France, England, Russia, Austria and Holland, as well as several members from different royal lineages, and prominent individuals. Among his patrons were Napoleon and his family, for whom Canova produced much work, including several depictions between 1803 and 1809. The most notable representations were that of "Napoleon as Mars the Peacemaker", and "Venus Victrix" which was portrayal of Pauline Bonaparte.
"Napoleon as Mars the Peacemaker" had its inception after Canova was hired to make a bust of Napoleon in 1802. The statue was begun in 1803, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars, the Roman god of War. It was completed in 1806. In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to the Duke of Wellington, after his victory at Waterloo against Napoleon. "Venus Victrix" was originally conceived as a robed and recumbent sculpture of Pauline Borghese in the guise of Diana. Instead, Pauline ordered Canova to make the statue a nude Venus. The work was not intended for public viewing. Other works for the Napoleon family include, a bust of Napoleon, a statue of Napoleon's mother, and Marie Louise as Concordia. In 1802, Canova was assigned the post of 'Inspector-General of Antiquities and Fine Art of the Papal State', a position formerly held by Raphael. One of his activities in this capacity was to pioneer the restoration of the Appian Way by restoring the tomb of Servilius Quartus. In 1808 Canova became an associated member of the Royal Institute of Sciences, Literature and Fine Arts of the Kingdom of Holland.
In 1814, he began his "The Three Graces". In 1815, he was named 'Minister Plenipotentiary of the Pope,' and was tasked by Pope Pius VI with recovering various works of art that were taken to Paris by Napoleon under the terms of the Treaty of Paris (1815). At the Louvre, he faced resistance to restitution from Director Vivant Denon and, due to the works' large size or unclear location, was forced to leave behind major pieces, such as Paolo Veronese's painting "The Wedding at Cana." Also in 1815, he visited London, and met with Benjamin Haydon. It was after the advice of Canova that the Elgin Marbles were acquired by the British Museum, with plaster copies sent to Florence, according to Canova's request. Returning to Italy. In 1816, Canova returned to Rome with some of the art Napoleon had taken. He was rewarded with several marks of distinction: he was appointed President of the Accademia di San Luca, inscribed into the "Golden Book of Roman Nobles" by the Pope's own hands, and given the title of Marquis of Ischia, alongside an annual pension of 3,000 crowns.
In 1819, he commenced and completed his commissioned work "Venus Italica" as a replacement for the Venus de' Medici. After his 1814 proposal to build a personified statue of Religion for St. Peter's Basilica was rejected, Canova sought to build his own temple to house it. This project came to be the Tempio Canoviano. Canova designed, financed, and partly built the structure himself. The structure was to be a testament to Canova's piety. The building's design was inspired by combining the Parthenon and the Pantheon together. On 11 July 1819, Canova laid the foundation stone dressed in red Papal uniform and decorated with all his medals. It first opened in 1830, and was finally completed in 1836. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno to direct the workmen and encourage them with rewards. During the period that intervened between commencing operations at Possagno and his death, he executed or finished some of his most striking works. Among these were the group "Mars and Venus", the colossal figure of Pius VI, the Pietà, the "St John", and a colossal bust of his friend, the Count Leopoldo Cicognara.
In 1820, he made a statue of George Washington for the state of North Carolina. As recommended by Thomas Jefferson, the sculptor used the marble bust of Washington by Giuseppe Ceracchi as a model. It was delivered on 24 December 1821. The statue and the North Carolina State House where it was displayed were later destroyed by fire in 1831. A plaster replica was sent by King Victor Emmanuel III of Italy in 1910, now on view at the North Carolina Museum of History. A marble copy was sculpted by Romano Vio in 1970, now on view in the rotunda of the capitol building. In 1822, he journeyed to Naples, to superintend the construction of wax moulds for an equestrian statue of Ferdinand VII. The adventure was disastrous to his health, but soon became healthy enough to return to Rome. From there, he voyaged to Venice; however, on 13 October 1822, he died there at the age of 64. As he never married, the name became extinct, except through his stepbrothers' lineage of Satori-Canova. On 12 October 1822, Canova instructed his brother to use his entire estate to complete the Tempio in Possagno.
On 25 October 1822, his body was placed in the Tempio Canoviano. His heart was interred at the Basilica di Santa Maria Gloriosa dei Frari in Venice, and his right hand preserved in a vase at the Accademia di Belle Arti di Venezia. His memorial service was so grand that it rivaled the ceremony that the city of Florence held for Michelangelo in 1564. In 1826, Giovanni Battista Sartori sold Canova's Roman studio and took every plaster model and sculpture to Possagno, where they were installed in the gypsotheque of the Tempio Canoviano. Works. Among Canova's most notable works are: "Psyche Revived by Cupid's Kiss" (1787). "Psyche Revived by Cupid's Kiss" was commissioned in 1787 by Colonel John Campbell. It is regarded as a masterpiece of Neoclassical sculpture, but shows the mythological lovers at a moment of great emotion, characteristic of the emerging movement of Romanticism. It represents the god Cupid in the height of love and tenderness, immediately after awakening the lifeless Psyche with a kiss. "Napoleon as Mars the Peacemaker" (1802–1806).
"Napoleon as Mars the Peacemaker" had its inception after Canova was hired to make a bust of Napoleon in 1802. The statue was begun in 1802, with Napoleon requesting to be shown in a French General's uniform, Canova rejected this, insisting on an allusion to Mars, the Roman god of War. It was completed in 1806. In 1811, the statue arrived in Paris, but not installed; neither was its bronze copy in the Foro Napoleonico in Milan. In 1815, the original went to the Duke of Wellington, after his victory at Waterloo against Napoleon and is on display at Apsley House. "Perseus Triumphant" (1804–1806). "Perseus Triumphant", sometimes called "Perseus with the Head of Medusa", was a statue commissioned by tribune Onorato Duveyriez. It depicts the Greek hero Perseus after his victory over the Gorgon Medusa. The statue was based freely on the Apollo Belvedere and the Medusa Rondanini. Napoleon, after his 1796 Italian Campaign, took the Apollo Belvedere to Paris. In the statue's absence, Pope Pius VII acquired Canova's "Perseus Triumphant" and placed the work upon the "Apollo"'s pedestal. The statue was so successful that when the "Apollo" was returned, "Perseus" remained as a companion piece.
One replica of the statue was commissioned from Canova by the Polish countess Waleria Tarnowska; it's now displayed in the Metropolitan Museum of Art in New York City. Karl Ludwig Fernow said of the statue that "every eye must rest with pleasure on the beautiful surface, even when the mind finds its hopes of high and pure enjoyment disappointed." "Venus Victrix" (1805–1808). "Venus Victrix" ranks among the most famous of Canova's works. Originally, Canova wished the depiction to be of a robed Diana, but Pauline Borghese insisted to appear as a nude Venus. The work was not intended for public viewing. "The Three Graces" (1814–1817). John Russell, the 6th Duke of Bedford, commissioned a version of the now famous work. He had previously visited Canova in his studio in Rome in 1814 and had been immensely impressed by a carving of the Graces the sculptor had made for the Empress Joséphine. When the Empress died in May of the same year he immediately offered to purchase the completed piece, but was unsuccessful as Josephine's son Eugène de Beauharnais claimed it (his son Maximilian, Duke of Leuchtenberg brought it to St. Petersburg, where it can now be found in the Hermitage Museum). Undeterred, the Duke commissioned another version for himself.
The sculpting process began in 1814 and was completed in 1817. Finally in 1819 it was installed at the Duke's residence in Woburn Abbey. Canova even made the trip over to England to supervise its installation, choosing for it to be displayed on a pedestal adapted from a marble plinth with a rotating top. This version is now owned jointly by the Victoria and Albert Museum and the National Galleries of Scotland, and is alternately displayed at each. Artistic process. Canova had a distinct, signature style in which he combined Greek and Roman art practices with early stirrings of romanticism to delve into a new path of Neoclassicism. Canova's sculptures fall into three categories: Heroic compositions, compositions of grace, and sepulchral monuments. In each of these, Canova's underlying artistic motivations were to challenge, if not compete, with classical statues. Canova refused to take in pupils and students, but would hire workers to carve the initial figure from the marble. According to art historian Giuseppe Pavanello, "Canova's system of work concentrated on the initial idea, and on the final carving of the marble". He had an elaborate system of comparative pointing so that the workers were able to reproduce the plaster form in the selected block of marble. These workers would leave a thin veil over the entire statue so Canova's could focus on the surface of the statue.
While he worked, he had people read to him select literary and historical texts. Last touch. During the last quarter of the eighteenth century, it became fashionable to view art galleries at night by torchlight. Canova was an artist that leapt on the fad and displayed his works of art in his studio by candlelight. As such, Canova would begin to finalize the statue with special tools by candlelight, to soften the transitions between the various parts of the nude. After a little recarving, he began to rub the statue down with pumice stone, sometimes for periods longer than weeks or months. If that was not enough, he would use tripoli (rottenstone) and lead. He then applied a now unknown chemical-composition of patina onto the flesh of the figure to lighten the skin tone. Importantly, his friends also denied any usage of acids in his process. Criticisms. Conversations revolving around the justification of art as superfluous usually invoked the name of Canova. Karl Ludwig Fernow believed that Canova was not Kantian enough in his aesthetic, because emphasis seemed to have been placed on agreeableness rather than Beauty. Canova was faulted for creating works that were artificial in complexity.
Legacy. Although the Romantic period artists buried Canova's name soon after he died, he is slowly being rediscovered. Giuseppe Pavanello wrote in 1996 that "the importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern age". Canova spent large parts of his fortune helping young students and sending patrons to struggling sculptors, including Sir Richard Westmacott and John Gibson. He was introduced into various orders of chivalry. A number of his works, sketches, and writings are collected in the "Sala Canoviana" of the Museo Civico of Bassano del Grappa. Other works, including plaster casts are the Museo Canoviano in Asolo. In 2018, a crater on Mercury was named in his honor. Literary inspirations. Two of Canova's works appear as engravings in "Fisher's Drawing Room Scrap Book", 1834, with poetical illustrations by Letitia Elizabeth Landon. These are of "The Dancing Girl" and "Hebe".
Auguste Rodin François Auguste René Rodin (; ; 12 November 184017 November 1917) was a French sculptor generally considered the founder of modern sculpture. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay. He is known for such sculptures as "The Thinker", "Monument to Balzac", "The Kiss", "The Burghers of Calais", and "The Gates of Hell". Many of Rodin's most notable sculptures were criticized, as they clashed with predominant figurative sculpture traditions in which works were decorative, formulaic, or highly thematic. Rodin's most original work departed from traditional themes of mythology and allegory. He modeled the human body with naturalism, and his sculptures celebrate individual character and physicality. Although Rodin was sensitive to the controversy surrounding his work, he refused to change his style, and his continued output brought increasing favor from the government and the artistic community.
From the unexpected naturalism of Rodin's first major figure – inspired by his 1875 trip to Italy – to the unconventional memorials whose commissions he later sought, his reputation grew, and Rodin became the preeminent French sculptor of his time. By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin's work after his World's Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. His student, Camille Claudel, became his associate, lover, and creative rival. Rodin's other students included Antoine Bourdelle, Constantin Brâncuși, and Charles Despiau. He married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, but within a few decades his legacy solidified. Rodin remains one of the few sculptors widely known outside the visual arts community. Biography. Formative years. Rodin was born in 1840 into a working-class family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin, who was a police department clerk. He was largely self-educated, and began to draw at age 10. Between ages 14 and 17, he attended the "Petite École", a school specializing in art and mathematics where he studied drawing and painting. His drawing teacher Horace Lecoq de Boisbaudran believed in first developing the personality of his students so that they observed with their own eyes and drew from their recollections, and Rodin expressed appreciation for his teacher much later in life. It was at Lecoq's studio that he met Jules Dalou and Alphonse Legros.
In 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance; he did not succeed, and two further applications were also denied. Entrance requirements were not particularly high at the "Grande École", so the rejections were considerable setbacks. Rodin's inability to gain entrance may have been due to the judges' Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. He left the "Petite École" in 1857 and earned a living as a craftsman and ornamenter for most of the next two decades, producing decorative objects and architectural embellishments. Rodin's sister Maria, two years his senior, died of peritonitis in a convent in 1862, and Rodin was anguished with guilt because he had introduced her to an unfaithful suitor. He turned away from art and joined the Catholic order of the Congregation of the Blessed Sacrament as a laybrother. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodin's talent and sensed his lack of suitability for the order, so he encouraged Rodin to continue with his sculpture. Rodin returned to work as a decorator while taking classes with animal sculptor Antoine-Louis Barye. The teacher's attention to detail and his finely rendered musculature of animals in motion significantly influenced Rodin.
In 1864, Rodin began to live with a young seamstress named Rose Beuret (born in June 1844), with whom he stayed for the rest of his life, with varying commitment. The couple had a son named Auguste-Eugène Beuret (1866–1934). That year, Rodin offered his first sculpture for exhibition and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of "objets d'art". Rodin worked as Carrier-Belleuse' chief assistant until 1870, designing roof decorations and staircase and doorway embellishments. With the arrival of the Franco-Prussian War, Rodin was called to serve in the French National Guard, but his service was brief due to his near-sightedness. Decorators' work had dwindled because of the war, yet Rodin needed to support his family, as poverty was a continual difficulty for him until about the age of 30. Carrier-Belleuse soon asked him to join him in Belgium, where they worked on ornamentation for the Brussels Stock Exchange in 1871.
Artistic independence. Rose Beuret and Rodin returned to Paris in 1877, moving into a small flat on the Left Bank. Misfortune surrounded Rodin: his mother, who had wanted to see her son marry, was dead, and his father was blind and senile, cared for by Rodin's sister-in-law, Aunt Thérèse. Rodin's eleven-year-old son Auguste, possibly developmentally delayed, was also in the ever-helpful Thérèse's care. Rodin had essentially abandoned his son for six years, and would have a very limited relationship with him throughout his life. Father and son joined the couple in their flat, with Rose as caretaker. Charges of fakery surrounding "The Age of Bronze" continued. Rodin increasingly sought soothing female companionship in Paris, and Rose stayed in the background. Rodin earned his living collaborating with more established sculptors on public commissions, primarily memorials and neo-baroque architectural pieces in the style of Carpeaux. In competitions for commissions he submitted models of Denis Diderot, Jean-Jacques Rousseau, and Lazare Carnot, all to no avail. On his own time, he worked on studies leading to the creation of his next important work, "St. John the Baptist Preaching".
In 1880, Carrier-Belleuse – then art director of the Sèvres national porcelain factory – offered Rodin a part-time position as a designer. The offer was in part a gesture of reconciliation, and Rodin accepted. That part of Rodin which appreciated 18th-century tastes was aroused, and he immersed himself in designs for vases and table ornaments that brought the factory renown across Europe. The artistic community appreciated his work in this vein, and Rodin was invited to Paris Salons by such friends as writer Léon Cladel. During his early appearances at these social events, Rodin seemed shy; in his later years, as his fame grew, he displayed the loquaciousness and temperament for which he is better known. French statesman Leon Gambetta expressed a desire to meet Rodin, and the sculptor impressed him when they met at a salon. Gambetta spoke of Rodin in turn to several government ministers, likely including , the Undersecretary of the Ministry of Fine Arts, whom Rodin eventually met. Rodin's relationship with Turquet was rewarding. Through Turquet, he won the 1880 commission to create a portal for a planned museum of decorative arts. Rodin dedicated much of the next four decades to his elaborate "Gates of Hell", an unfinished portal for a museum that was never built. Many of the portal's figures became sculptures in themselves, including Rodin's most famous, "The Thinker" and "The Kiss". With the museum commission came a free studio, granting Rodin a new level of artistic freedom. Soon, he stopped working at the porcelain factory in 1882; his income came from private commissions.
In 1883, Rodin agreed to supervise a course for sculptor Alfred Boucher in his absence, where he met the 18-year-old Camille Claudel. The two formed a passionate but stormy relationship and influenced each other artistically. Claudel inspired Rodin as a model for many of his figures, and she was a talented sculptor, assisting him on commissions as well as creating her own works. Her "Bust of Rodin" was displayed to critical acclaim at the 1892 Salon. Although busy with "The Gates of Hell", Rodin won other commissions. He pursued an opportunity to create a historical monument for the town of Calais. For a monument to French author Honoré de Balzac, Rodin was chosen in 1891. His execution of both sculptures clashed with traditional tastes and met with varying degrees of disapproval from the organizations that sponsored the commissions. Still, Rodin was gaining support from diverse sources that propelled him toward fame. In 1889, the Paris Salon invited Rodin to be a judge on its artistic jury. Though Rodin's career was on the rise, Claudel and Beuret were becoming increasingly impatient with Rodin's "double life". Claudel and Rodin shared an atelier at a small old castle (the Château de l'Islette in the Loire), but Rodin refused to relinquish his ties to Beuret, his loyal companion during the lean years, and mother of his son. During one absence, Rodin wrote to Beuret, "I think of how much you must have loved me to put up with my caprices...I remain, in all tenderness, your Rodin."
Claudel and Rodin parted in 1898. Claudel suffered an alleged nervous breakdown several years later and was confined to an institution for 30 years by her family, until her death in 1943, despite numerous attempts by doctors to explain to her mother and brother that she was sane. In 1904, Rodin was introduced to the Welsh artist, Gwen John, who modelled for him and became his lover after being introduced by Hilda Flodin. John had a fervent attachment to Rodin and would write to him thousands of times over the next ten years. As their relationship came to a close, despite his genuine feeling for her, Rodin eventually resorted to the use of concièrges and secretaries to keep her at a distance. Works. In 1864, Rodin submitted his first sculpture for exhibition, "The Man with the Broken Nose", to the Paris Salon. The subject was an elderly neighborhood street porter. The unconventional bronze piece was not a traditional bust, but instead the head was "broken off" at the neck, the nose was flattened and crooked, and the back of the head was absent, having fallen off the clay model in an accident. The work emphasized texture and the emotional state of the subject; it illustrated the "unfinishedness" that would characterize many of Rodin's later sculptures. The Salon initially rejected the piece, though it would accept a version carved in marble by an assistant of Rodin's in 1875.
Early figures: the inspiration of Italy. In Brussels, Rodin created his first full-scale work, "The Age of Bronze", having returned from Italy. Modeled after a Belgian soldier, the figure drew inspiration from Michelangelo's "Dying Slave", which Rodin had observed at the Louvre. Attempting to combine Michelangelo's mastery of the human form with his own sense of human nature, Rodin studied his model from all angles, at rest and in motion; he mounted a ladder for additional perspective, and made clay models, which he studied by candlelight. The result was a life-size, well-proportioned nude figure, posed unconventionally with his right hand atop his head, and his left arm held out at his side, forearm parallel to the body. In 1877, the work debuted in Brussels and then was shown at the Paris Salon. The statue's apparent lack of a theme was troubling to critics – commemorating neither mythology nor a noble historical event – and it is not clear whether Rodin intended a theme. He first titled the work "The Vanquished", in which form the left hand held a spear, but he removed the spear because it obstructed the torso from certain angles. After two more intermediary titles, Rodin settled on "The Age of Bronze", suggesting the Bronze Age, and in Rodin's words, "man arising from nature". Later, however, Rodin said that he had had in mind "just a simple piece of sculpture without reference to subject".
Its mastery of form, light, and shadow made the work look so naturalistic that Rodin was accused of "surmoulage" – having taken a cast from a living model. Rodin vigorously denied the charges, writing to newspapers and having photographs taken of the model to prove how the sculpture differed. He demanded an inquiry and was eventually exonerated by a committee of sculptors. Leaving aside the false charges, the piece polarized critics. It had barely won acceptance for display at the Paris Salon, and criticism likened it to "a statue of a sleepwalker" and called it "an astonishingly accurate copy of a low type". Others rallied to defend the piece and Rodin's integrity. The government minister Turquet admired the piece, and "The Age of Bronze" was purchased by the state for 2,200 francs – what it had cost Rodin to have it cast in bronze. A second male nude, "St. John the Baptist Preaching", was completed in 1878. Rodin sought to avoid another charge of "surmoulage" by making the statue larger than life: "St. John" stands almost . While "The Age of Bronze" is statically posed, "St. John" gestures and seems to move toward the viewer. The effect of walking is achieved despite the figure having both feet firmly on the ground – a technical achievement that was lost on most contemporary critics. Rodin chose this contradictory position to, in his words, "display simultaneously...views of an object which in fact can be seen only successively".
Despite the title, "St. John the Baptist Preaching" did not have an obviously religious theme. The model, an Italian peasant who presented himself at Rodin's studio, possessed an idiosyncratic sense of movement that Rodin felt compelled to capture. Rodin thought of John the Baptist and carried that association into the title of the work. In 1880, Rodin submitted the sculpture to the Paris Salon. Critics were still mostly dismissive of his work, but the piece finished third in the Salon's sculpture category. Regardless of the immediate receptions of "St. John" and "The Age of Bronze", Rodin had achieved a new degree of fame. Students sought him at his studio, praising his work and scorning the charges of "surmoulage". The artistic community knew his name. "The Gates of Hell". A commission to create a portal for Paris' planned Museum of Decorative Arts was awarded to Rodin in 1880. Although the museum was never built, Rodin worked throughout his life on "The Gates of Hell", a monumental sculptural group depicting scenes from Dante's "Inferno" in high relief. Often lacking a clear conception of his major works, Rodin compensated with hard work and a striving for perfection.
He conceived "The Gates" with the "surmoulage" controversy still in mind: "...I had made the "St. John" to refute [the charges of casting from a model], but it only partially succeeded. To prove completely that I could model from life as well as other sculptors, I determined...to make the sculpture on the door of figures smaller than life." Laws of composition gave way to the "Gates"' disordered and untamed depiction of Hell. The figures and groups in this, Rodin's meditation on the condition of man, are physically and morally isolated in their torment. "The Gates of Hell" comprised 186 figures in its final form. Many of Rodin's best-known sculptures started as designs of figures for this composition, such as "The Thinker", "The Three Shades", and "The Kiss", and were only later presented as separate and independent works. Other well-known works derived from "The Gates" are "Ugolino", "Fallen Caryatid Carrying her Stone", "Fugit Amor", "She Who Was Once the Helmet-Maker's Beautiful Wife", "The Falling Man", and "The Prodigal Son".
"The Thinker". "The Thinker" (originally titled "The Poet", after Dante) was to become one of the best-known sculptures in the world. The original was a high bronze piece created between 1879 and 1889, designed for the "Gates"' lintel, from which the figure would gaze down upon Hell. While "The Thinker" most obviously characterizes Dante, aspects of the Biblical Adam, the mythological Prometheus, and Rodin himself have been ascribed to him. Other observers de-emphasize the apparent intellectual theme of "The Thinker", stressing the figure's rough physicality and the emotional tension emanating from it. "The Burghers of Calais". The town of Calais had contemplated a historical monument for decades when Rodin learned of the project. He pursued the commission, interested in the medieval motif and patriotic theme. The mayor of Calais was tempted to hire Rodin on the spot upon visiting his studio, and soon the memorial was approved, with Rodin as its architect. It would commemorate the six townspeople of Calais who offered their lives to save their fellow citizens.
During the Hundred Years' War, the army of King Edward III besieged Calais, and Edward ordered that the town's population be killed "en masse". He agreed to spare them if six of the principal citizens would come to him prepared to die, bareheaded and barefooted and with ropes around their necks. When they came, he ordered that they be executed, but pardoned them when his queen, Philippa of Hainault, begged him to spare their lives. "The Burghers of Calais" depicts the men as they are leaving for the king's camp, carrying keys to the town's gates and citadel. Rodin began the project in 1884, inspired by the chronicles of the siege by Jean Froissart. Though the town envisioned an allegorical, heroic piece centered on Eustache de Saint-Pierre, the eldest of the six men, Rodin conceived the sculpture as a study in the varied and complex emotions under which all six men were laboring. One year into the commission, the Calais committee was not impressed with Rodin's progress. Rodin indicated his willingness to end the project rather than change his design to meet the committee's conservative expectations, but Calais said to continue.
In 1889, "The Burghers of Calais" was first displayed to general acclaim. It is a bronze sculpture weighing , and its figures are tall. The six men portrayed do not display a united, heroic front; rather, each is isolated from his brothers, individually deliberating and struggling with his expected fate. Rodin soon proposed that the monument's high pedestal be eliminated, wanting to move the sculpture to ground level so that viewers could "penetrate to the heart of the subject". At ground level, the figures' positions lead the viewer around the work, and subtly suggest their common movement forward. The committee was incensed by the untraditional proposal, but Rodin would not yield. In 1895, Calais succeeded in having "Burghers" displayed in their preferred form: the work was placed in front of a public garden on a high platform, surrounded by a cast-iron railing. Rodin had wanted it located near the town hall, where it would engage the public. Only after damage during the First World War, subsequent storage, and Rodin's death was the sculpture displayed as he had intended. It is one of Rodin's best-known and most acclaimed works.
Commissions and controversy. Commissioned to create a monument to French writer Victor Hugo in 1889, Rodin dealt extensively with the subject of "artist and muse". Like many of Rodin's public commissions, "Monument to Victor Hugo" was met with resistance because it did not fit conventional expectations. Commenting on Rodin's monument to Victor Hugo, "The Times" in 1909 expressed that "there is some show of reason in the complaint that [Rodin's] conceptions are sometimes unsuited to his medium, and that in such cases they overstrain his vast technical powers". The 1897 plaster model was not cast in bronze until 1964. The "Société des Gens des Lettres", a Parisian organization of writers, planned a monument to French novelist Honoré de Balzac immediately after his death in 1850. The society commissioned Rodin to create the memorial in 1891, and Rodin spent years developing the concept for his sculpture. Challenged in finding an appropriate representation of Balzac given the author's rotund physique, Rodin produced many studies: portraits, full-length figures in the nude, wearing a frock coat, or in a robe – a replica of which Rodin had requested. The realized sculpture displays Balzac cloaked in the drapery, looking forcefully into the distance with deeply gouged features. Rodin's intent had been to show Balzac at the moment of conceiving a work – to express courage, labor, and struggle.
When "Monument to Balzac" was exhibited in 1898, the negative reaction was not surprising. The "Société" rejected the work, and the press ran parodies. Criticizing the work, Morey (1918) reflected, "there may come a time, and doubtless will come a time, when it will not seem "outre" to represent a great novelist as a huge comic mask crowning a bathrobe, but even at the present day this statue impresses one as slang." A modern critic, indeed, claims that "Balzac" is one of Rodin's masterpieces. The monument had its supporters in Rodin's day; a manifesto defending him was signed by Monet, Debussy, and future Premier Georges Clemenceau, among many others. In the BBC series "Civilisation", art historian Kenneth Clark praised the monument as "the greatest piece of sculpture of the 19th Century, perhaps, indeed, the greatest since Michelangelo." Rather than try to convince skeptics of the merit of the monument, Rodin repaid the "Société" his commission and moved the figure to his garden. After this experience, Rodin did not complete another public commission. Only in 1939 was "Monument to Balzac" cast in bronze and placed on the Boulevard du Montparnasse at the intersection with Boulevard Raspail.
Other works. The popularity of Rodin's most famous sculptures tends to obscure his total creative output. A prolific artist, he created thousands of busts, figures, and sculptural fragments over more than five decades. He painted in oils (especially in his thirties) and in watercolors. The Musée Rodin holds 7,000 of his drawings and prints, in chalk and charcoal, and thirteen vigorous drypoints. Portraiture was an important component of Rodin's oeuvre, helping him to win acceptance and financial independence. His first sculpture was a bust of his father in 1860, and he produced at least 56 portraits between 1877 and his death in 1917. Early subjects included fellow sculptor Jules Dalou (1883) and companion Camille Claudel (1884). Later, with his reputation established, Rodin made busts of prominent contemporaries such as English politician George Wyndham (1905), Irish playwright George Bernard Shaw (1906), socialist (and former mistress of the Prince of Wales who became King Edward VII) Countess of Warwick (1908), Austrian composer Gustav Mahler (1909), former Argentine president Domingo Faustino Sarmiento and French statesman Georges Clemenceau (1911).
His undated drawing "Study of a Woman Nude, Standing, Arms Raised, Hands Crossed Above Head" is one of the works seized in 2012 from the collection of Cornelius Gurlitt. Aesthetic. Rodin was a naturalist, less concerned with monumental expression than with character and emotion. Departing with centuries of tradition, he turned away from the idealism of the Greeks, and the decorative beauty of the Baroque and neo-Baroque movements. His sculpture emphasized the individual and the concreteness of flesh, and suggested emotion through detailed, textured surfaces, and the interplay of light and shadow. To a greater degree than his contemporaries, Rodin believed that an individual's character was revealed by his physical features. Rodin's talent for surface modeling allowed him to let every part of the body speak for the whole. The male's passion in "The Thinker" is suggested by the grip of his toes on the rock, the rigidness of his back, and the differentiation of his hands. Speaking of "The Thinker", Rodin illuminated his aesthetic: "What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, his distended nostrils and compressed lips, but with every muscle of his arms, back, and legs, with his clenched fist and gripping toes."
Sculptural fragments to Rodin were autonomous works, and he considered them the essence of his artistic statement. His fragments – perhaps lacking arms, legs, or a head – took sculpture further from its traditional role of portraying likenesses, and into a realm where forms existed for their own sake. Notable examples are "The Walking Man", "Meditation without Arms", and "Iris, Messenger of the Gods". Rodin saw suffering and conflict as hallmarks of modern art. "Nothing, really, is more moving than the maddened beast, dying from unfulfilled desire and asking in vain for grace to quell its passion." Charles Baudelaire echoed those themes and was among Rodin's favorite poets. Rodin enjoyed music, especially the opera composer Gluck, and wrote a book about French cathedrals. He owned a work by the as-yet-unrecognized Van Gogh and admired the forgotten El Greco. Method. Instead of copying traditional academic postures, Rodin preferred his models to move naturally around his studio (despite their nakedness). The sculptor often made quick sketches in clay that were later fine-tuned, cast in plaster, and cast in bronze or carved from marble. Rodin's focus was on the handling of clay.
George Bernard Shaw sat for a portrait and gave an idea of Rodin's technique: "While he worked, he achieved a number of miracles. At the end of the first fifteen minutes, after having given a simple idea of the human form to the block of clay, he produced by the action of his thumb a bust so living that I would have taken it away with me to relieve the sculptor of any further work." He described the evolution of his bust over a month, passing through "all the stages of art's evolution": first, a "Byzantine masterpiece", then "Bernini intermingled", then an elegant Houdon. "The hand of Rodin worked not as the hand of a sculptor works, but as the work of "Elan Vital". The "Hand of God" is his own hand." After he completed his work in clay, he employed highly skilled assistants to re-sculpt his compositions at larger sizes (including any of his large-scale monuments such as "The Thinker"), to cast the clay compositions into plaster or bronze, and to carve his marbles. Rodin's major innovation was to capitalize on such multi-staged processes of 19th century sculpture and their reliance on plaster casting.
Since clay deteriorates rapidly if not kept wet or fired into a terra-cotta, sculptors used plaster casts as a means of securing the composition they would make from the fugitive material that is clay. This was common practice amongst Rodin's contemporaries, and sculptors would exhibit plaster casts with the hopes that they would be commissioned to have the works made in a more permanent material. Rodin, however, would have multiple plasters made and treat them as the raw material of sculpture, recombining their parts and figures into new compositions, and new names. As Rodin's practice developed into the 1890s, he became more and more radical in his pursuit of fragmentation, the combination of figures at different scales, and the making of new compositions from his earlier work. A prime example of this is the bold "The Walking Man" (1899–1900), which was exhibited at his major one-person show in 1900. This is composed of two sculptures from the 1870s that Rodin found in his studio – a broken and damaged torso that had fallen into neglect and the lower extremities of a statuette version of his 1878 "St. John the Baptist Preaching" he was having re-sculpted at a reduced scale.
Without finessing the join between upper and lower, between torso and legs, Rodin created a work that many sculptors at the time and subsequently have seen as one of his strongest and most singular works. This is despite the fact that the object conveys two different styles, exhibits two different attitudes toward finish, and lacks any attempt to hide the arbitrary fusion of these two components. It was the freedom and creativity with which Rodin used these practices – along with his activation surfaces of sculptures through traces of his own touch and with his more open attitude toward bodily pose, sensual subject matter, and non-naturalistic surface – that marked Rodin's re-making of traditional 19th century sculptural techniques into the prototype for modern sculpture. Later years (1900–1917). By 1900, Rodin's artistic reputation was established. Gaining exposure from a pavilion of his artwork set up near the 1900 World's Fair ("Exposition Universelle") in Paris, he received requests to make busts of prominent people internationally, while his assistants at the atelier produced duplicates of his works. His income from portrait commissions alone totaled probably 200,000 francs a year. As Rodin's fame grew, he attracted many followers, including the German poet Rainer Maria Rilke, and authors Octave Mirbeau, Joris-Karl Huysmans, and Oscar Wilde.
Rilke stayed with Rodin in 1905 and 1906 and did administrative work for him; he would later write a laudatory monograph on the sculptor. Rodin and Beuret's modest country estate in Meudon, purchased in 1897, was a host to such guests as King Edward, dancer Isadora Duncan, and harpsichordist Wanda Landowska. A British journalist who visited the property noted in 1902 that in its complete isolation, there was "a striking analogy between its situation and the personality of the man who lives in it". Rodin moved to the city in 1908, renting the main floor of the Hôtel Biron, an 18th-century townhouse. He left Beuret in Meudon and began an affair with the American-born Duchesse de Choiseul. From 1910, he mentored the Russian sculptor, Moissey Kogan. United States. While Rodin was beginning to be accepted in France by the time of "The Burghers of Calais", he had not yet conquered the American market. Because of his technique and the frankness of some of his work, he did not have an easy time selling his work to American industrialists. However, he came to know Sarah Tyson Hallowell (1846–1924), a curator from Chicago who visited Paris to arrange exhibitions at the large Interstate Expositions of the 1870s and 1880s. Hallowell was not only a curator but an adviser and a facilitator who was trusted by a number of prominent American collectors to suggest works for their collections, the most prominent of these being the Chicago hotelier Potter Palmer and his wife, Bertha Palmer (1849–1918).
The next opportunity for Rodin in America was the 1893 Chicago World's Fair. Hallowell wanted to help promote Rodin's work and he suggested a solo exhibition, which she wrote him was "beaucoup moins beau que l'original" but impossible, outside the rules. Instead, she suggested he send a number of works for her loan exhibition of French art from American collections and she told him she would list them as being part of an American collection. Rodin sent Hallowell three works, "Cupid and Psyche", "Sphinx" and "Andromeda". All nudes, these works provoked great controversy and were ultimately hidden behind a drape with special permission given for viewers to see them. "Bust of Dalou" and "Burgher of Calais" were on display in the official French pavilion at the fair and so between the works that were on display and those that were not, he was noticed. However, the works he gave Hallowell to sell found no takers, but she soon brought the controversial Quaker-born financier Charles Yerkes (1837–1905) into the fold and he purchased two large marbles for his Chicago manse; Yerkes was likely the first American to own a Rodin sculpture.
Other collectors soon followed including the tastemaking Potter Palmers of Chicago and Isabella Stewart Gardner (1840–1924) of Boston, all arranged by Sarah Hallowell. In appreciation for her efforts at unlocking the American market, Rodin eventually presented Hallowell with a bronze, a marble and a terra cotta. When Hallowell moved to Paris in 1893, she and Rodin continued their warm friendship and correspondence, which lasted to the end of the sculptor's life. After Hallowell's death, her niece, the painter Harriet Hallowell, inherited the Rodins and after her death, the American heirs could not manage to match their value in order to export them, so they became the property of the French state. Great Britain. After the start of the 20th century, Rodin was a regular visitor to Great Britain, where he developed a loyal following by the beginning of the First World War. He first visited England in 1881, where his friend, the artist Alphonse Legros, had introduced him to the poet William Ernest Henley. With his personal connections and enthusiasm for Rodin's art, Henley was most responsible for Rodin's reception in Britain. Rodin later returned the favor by sculpting a that was used as the frontispiece to Henley's collected works and, after his death, on his monument in London.
Through Henley, Rodin met Robert Louis Stevenson and Robert Browning, in whom he found further support. Encouraged by the enthusiasm of British artists, students, and high society for his art, Rodin donated a selection of his works to the nation in 1914. After the revitalization of the Société Nationale des Beaux-Arts in 1890, Rodin served as the body's vice-president. In 1903, Rodin was elected president of the International Society of Painters, Sculptors, and Engravers. He replaced its former president, James Abbott McNeill Whistler, upon Whistler's death. His election to the prestigious position was largely due to the efforts of Albert Ludovici, father of English philosopher Anthony Ludovici, who was private secretary to Rodin for several months in 1906, but the two men parted company after Christmas, "to their mutual relief." During his later creative years, Rodin's work turned increasingly toward the female form, and themes of more overt masculinity and femininity. He concentrated on small dance studies, and produced numerous erotic drawings, sketched in a loose way, without taking his pencil from the paper or his eyes from the model. Rodin met American dancer Isadora Duncan in 1900, attempted to seduce her, and the next year sketched studies of her and her students. In July 1906, Rodin was also enchanted by dancers from the Royal Ballet of Cambodia and produced some of his most famous drawings from the experience.
Fifty-three years into their relationship, Rodin married Rose Beuret. They married on 29 January 1917, and Beuret died two weeks later, on 16 February. Rodin was ill that year; in January, he suffered weakness from influenza, and on 16 November his physician announced that "congestion of the lungs has caused great weakness. The patient's condition is grave." Rodin died the next day, age 77, at his villa in Meudon, Île-de-France, on the outskirts of Paris. A cast of "The Thinker" was placed next to his tomb in Meudon; it was Rodin's wish that the figure served as his headstone and epitaph. In 1923, Marcell Tirel, Rodin's secretary, published a book alleging that Rodin's death was largely due to cold, and the fact that he had no heat at Meudon. Rodin requested permission to stay in the Hotel Biron, a museum of his works, but the director of the museum refused to let him stay there. Legacy. Rodin willed to the French state his studio and the right to make casts from his plasters. Because he encouraged the edition of his sculpted work, Rodin's sculptures are represented in many public and private collections. The Musée Rodin was founded in 1916 and opened in 1919 at the Hôtel Biron, where Rodin had lived, and it holds the largest Rodin collection, with more than 6,000 sculptures and 7,000 works on paper. The French order made him a Commander, and he received an honorary doctorate from the University of Oxford in 1907.
During his lifetime, Rodin was compared to Michelangelo, and was widely recognized as the greatest artist of the era. In the three decades following his death, his popularity waned with changing aesthetic values. Since the 1950s, Rodin's reputation has re-ascended; he is recognized as the most important sculptor of the modern era, and has been the subject of much scholarly work. The sense of incompletion offered by some of his sculpture, such as "The Walking Man", influenced the increasingly abstract sculptural forms of the 20th century. Rodin restored an ancient role of sculpture – to capture the physical and intellectual force of the human subject – and he freed sculpture from the repetition of traditional patterns, providing the foundation for greater experimentation in the 20th century. His popularity is ascribed to his emotion-laden representations of ordinary men and women – to his ability to find the beauty and pathos in the human animal. His most popular works, such as "The Kiss" and "The Thinker", are widely used outside the fine arts as symbols of human emotion and character. To honor Rodin's artistic legacy, the Google search engine homepage displayed a Google Doodle featuring "The Thinker" to celebrate his 172nd birthday on 12 November 2012.
Rodin had enormous artistic influence. A whole generation of sculptors studied in his workshop. These include Gutzon Borglum, Antoine Bourdelle, Constantin Brâncuși, Camille Claudel, Charles Despiau, Malvina Hoffman, Carl Milles, François Pompon, Rodo, Gustav Vigeland, Clara Westhoff and Margaret Winser, even though Brancusi later rejected his legacy. Rodin also promoted the work of other sculptors, including Aristide Maillol and Ivan Meštrović whom Rodin once called "the greatest phenomenon amongst sculptors." Other sculptors whose work has been described as owing to Rodin include Joseph Csaky, Alexander Archipenko, Joseph Bernard, Henri Gaudier-Brzeska, Georg Kolbe, Wilhelm Lehmbruck, Jacques Lipchitz, Pablo Picasso, Adolfo Wildt, and Ossip Zadkine. Henry Moore acknowledged Rodin's seminal influence on his work. Several films have been made featuring Rodin as a prominent character or presence. These include "Camille Claudel", a 1988 film in which Gérard Depardieu portrays Rodin, "Camille Claudel 1915" from 2013, and "Rodin", a 2017 film starring Vincent Lindon as Rodin. Furthermore, the Rodin Studios artists' cooperative housing in New York City, completed in 1917 to designs by Cass Gilbert, was named after Rodin.
Forgeries. The relative ease of making reproductions has also encouraged many forgeries: a survey of expert opinion placed Rodin in the top ten most-faked artists. Rodin fought against forgeries of his works as early as 1901, and since his death, many cases of organized, large-scale forgeries have been revealed. A massive forgery was discovered by French authorities in the early 1990s and led to the conviction of art dealer Guy Hain. To deal with the complexity of bronze reproduction, France has promulgated several laws since 1956 which limit reproduction to twelve casts – the maximum number that can be made from an artist's plasters and still be considered his work. As a result of this limit, "The Burghers of Calais", for example, is found in fourteen cities. In the market for sculpture, plagued by fakes, the value of a piece increases significantly when its provenance can be established. A Rodin work with a verified history sold for US$4.8 million in 1999, and Rodin's bronze "Ève, grand modele – version sans rocher" sold for $18.9 million at a 2008 Christie's auction in New York. Art critics concerned about authenticity have argued that taking a cast does not equal reproducing a Rodin sculpture – especially given the importance of surface treatment in Rodin's work. A number of drawings previously attributed to Rodin are now known to have been forged by Ernest Durig.
Ann Arbor, Michigan Ann Arbor is a city in Washtenaw County, Michigan, United States, and its county seat. The 2020 census recorded its population to be 123,851, making it the fifth-most populous city in Michigan. Located on the Huron River, Ann Arbor is the principal city of its metropolitan area, which encompasses all of Washtenaw County and had 372,258 residents in 2020. Ann Arbor is included in the Detroit–Warren–Ann Arbor combined statistical area and the Great Lakes megalopolis. Ann Arbor was founded in 1824 by John Allen and Elisha Rumsey. It was named after the wives of the village's founders, both named Ann, and the stands of bur oak trees they found at the site of the town. The University of Michigan was established in Ann Arbor in 1837, and the city's population grew at a rapid rate in the early to mid-20th century. A college town, Ann Arbor is currently home to the University of Michigan, which significantly shapes the city's economy, employing about 30,000 workers which includes about 12,000 in its medical center. The city's economy is also centered on high technology, with several companies drawn to the area by the university's research and development infrastructure. The city has been a center for progressive politics as well as several social and religious movements.
History. Before founding as Ann Arbor. The region was once inhabited by several Native American tribes, the most prominent being the Anishinaabe people of the Three Fires: the Odawa, Ojibwe, and Potawatomi. The Potawatomi founded two villages in the area of what is now Ann Arbor in about 1774. Other tribes that inhabited the area included the Meskwaki, Wyandots, and Sauk. These peoples established several trails that converged on present-day Ann Arbor. The land that included Washtenaw County was ceded to the U.S. by the Odawa, Ojibwe, Potawatomi, and Wyandot in the Treaty of Detroit of 1807. 19th century. Ann Arbor was founded in 1824 by land speculators John Allen and Elisha Walker Rumsey. On May 25, 1824, the town plat was registered with Wayne County as the Village of Annarbour, the earliest known use of the town's name. Allen and Rumsey decided to name it for their wives, both named Ann, and for the stands of bur oak in the of land they purchased for $800 () from the federal government at $1.25 per acre. The local Ojibwa named the settlement , after the sound of Allen's sawmill.
Ann Arbor became the seat of Washtenaw County in 1827 and was incorporated as a village in 1833. The Ann Arbor Land Company, a group of speculators, set aside of undeveloped land and offered it to the state of Michigan as the site of the state capitol, but lost the bid to Lansing. In 1837, the property was accepted instead as the site of the University of Michigan. Since the university's establishment in the city in 1837, the histories of the University of Michigan and Ann Arbor have been closely linked. The town became a regional transportation hub in 1839 with the arrival of the Michigan Central Railroad, and a north–south railway connecting Ann Arbor to Toledo and other markets to the south was established in 1878. Throughout the 1840s and the 1850s settlers continued to come to Ann Arbor. While the earlier settlers were primarily of British ancestry, the newer settlers also consisted of Germans, Irish, and Black people. In 1851, Ann Arbor was chartered as a city, though the city showed a drop in population during the Depression of 1873. It was not until the early 1880s that Ann Arbor again saw robust growth, with new immigrants from Greece, Italy, Russia, and Poland. 20th century.
Ann Arbor saw increased growth in manufacturing, particularly in milling. Ann Arbor's Jewish community also grew after the turn of the 20th century, and its first and oldest synagogue, Beth Israel Congregation, was established in 1916. Following a 1956 vote, the city of East Ann Arbor merged with Ann Arbor to encompass the eastern sections of the city. In 1960, Ann Arbor voters approved a $2.3 million bond issue (equivalent to $ million in ) to build the current city hall, which was designed by architect Alden B. Dow. The City Hall opened in 1963. In 1995, the building was renamed the Guy C. Larcom Jr. Municipal Building in honor of the longtime city administrator who championed the building's construction. During the 1960s and 1970s, the city gained a reputation as an important center for liberal politics. Ann Arbor also became a locus for left-wing activism and anti-Vietnam War movement, as well as the student movement. The first major meetings of the national left-wing campus group Students for a Democratic Society took place in Ann Arbor in 1960; in 1965, the city was home to the first U.S. teach-in against the Vietnam War. During the ensuing 15 years, many countercultural and New Left enterprises sprang up and developed large constituencies within the city. These influences washed into municipal politics during the early and mid-1970s when three members of the Human Rights Party (HRP) won city council seats on the strength of the student vote. During their time on the council, HRP representatives fought for measures including pioneering antidiscrimination ordinances, measures decriminalizing marijuana possession, and a rent-control ordinance.
Two religious-conservative institutions were created in Ann Arbor; the Word of God (established in 1967), a charismatic inter-denominational movement; and the Thomas More Law Center (established in 1999). Since 1998, Ann Arbor is also the home office of the Anthroposophical Society in the United States, an organization dedicated to supporting the community of those interested in the inner path of schooling known as anthroposophy, developed by Rudolf Steiner. 21st century. In the past several decades, Ann Arbor has grappled with the effects of sharply rising land values, gentrification, and urban sprawl stretching into outlying countryside. On November 4, 2003, voters approved a greenbelt plan under which the city government bought development rights on agricultural parcels of land adjacent to Ann Arbor to preserve them from sprawling development. Since then, a vociferous local debate has hinged on how and whether to accommodate and guide development within city limits. Ann Arbor consistently ranks in the "top places to live" lists published by various mainstream media outlets every year.
In 2016, the city changed mayoral terms from two years to four. Until 2017, City Council held annual elections in which half of the seats (one from each ward) were elected to 2-year terms. These elections were staggered, with each ward having one of its seats up for election in odd years and its other seat up for election in even years. Beginning in 2018 the city council has had staggered elections to 4-year terms in even years. This means that half of the members (one from each ward) are elected in presidential election years, while the other half are elected in mid-term election years. To facilitate this change in scheduling, the 2017 election elected members to terms that lasted 3-years. In 2020, partly as a response to the COVID-19 pandemic, the city government opened several downtown streets to pedestrians, limiting their use by motor vehicles to emergency vehicles during summertime weekends. In addition to providing a large pedestrian mall, these changes allow restaurants to use more of the sidewalks and part of the street for outdoor seating. These changes were popular enough that in 2021 the city council extended the dates from March to November, continuing the schedule of cordoning off cars from Thursday evening until Monday morning.
Geography. Ann Arbor is located along the Huron River, which flows southeast through the city on its way to Lake Erie. It is the central core of the Ann Arbor, MI Metropolitan Statistical Area, which consists of the whole of Washtenaw County, but is also a part of the Metro Detroit Combined Statistical Area designated by the U.S. Census Bureau. While it borders only Townships, the built-up nature of the sections of Pittsfield and Ypsilanti townships between Ann Arbor and the city of Ypsilanti make the two effectively a single urban area. Landscape. The landscape of Ann Arbor consists of hills and valleys, with the terrain becoming steeper near the Huron River. The elevation ranges from about along the Huron River to on the city's west side, near the intersection of Maple Road and Pauline Blvd. Ann Arbor Municipal Airport, which is south of the city at , has an elevation of . Ann Arbor is nicknamed "Tree Town", both due to its name and to the dense forestation of its parks and residential areas. The city contains more than 50,000 trees along its streets and an equal number in parks. Into the early 2000s, the emerald ash borer has destroyed many of the city's approximately 10,500 ash trees.
The city contains over 160 municipal parks ranging from small neighborhood green spots to large recreation areas such as Buhr Park. Several large city parks and a university park border sections of the Huron River. Fuller Recreation Area, near the University Hospital complex, contains sports fields, pedestrian and bike paths, and swimming pools. Opened in the summer of 2014, the city-funded Ann Arbor Skatepark is a skatepark located within Veterans Memorial Park. The city is also home to the Washtenaw County-owned County Farm Park. The Nichols Arboretum, owned by the University of Michigan, is a arboretum that contains hundreds of plant and tree species. It is on the city's east side, near the university's Central Campus. Located across the Huron River just beyond the university's North Campus is the university's Matthaei Botanical Gardens, which contains 300 acres of gardens and a large tropical conservatory. Several other green spaces around Ann Arbor are privately owned or owned by government agencies such as Ann Arbor Public Schools.
Cityscape. The cityscape of Ann Arbor is heavily influenced by the University of Michigan, with 22% of downtown and 9.4% of the total land owned by the university. The downtown Central Campus contains some of the oldest extant structures in the city—including the President's House, built in 1840—and separates the South University District from the other three downtown commercial districts. These other three districts, Kerrytown, State Street, and Main Street are contiguous near the northwestern corner of the university. Major landmarks in downtown Ann Arbor include the Michigan Theater, The Diag, and Tower Plaza, a 26-story condominium building that is the city's tallest building. Downtown is also home to several Fairy Doors and other public art installations. Three commercial areas south of downtown include the areas near I-94 and Ann Arbor-Saline Road, Briarwood Mall, and the South Industrial area. Other commercial areas include the Arborland/Washtenaw Avenue and Packard Road merchants on the east side, the Plymouth Road area in the northeast, and the Westgate/West Stadium areas on the west side. Downtown contains a mix of 19th- and early-20th-century structures and modern-style buildings, as well as a farmers' market in the Kerrytown district. The city's commercial districts are composed mostly of two- to four-story structures, although downtown and the area near Briarwood Mall contain a small number of high-rise buildings.
Ann Arbor's residential neighborhoods contain architectural styles ranging from classic 19th- and early 20th-century designs to ranch-style houses. Among these homes are a number of kit houses built in the early 20th century. Contemporary-style houses are farther from the downtown district. Surrounding the University of Michigan campus are houses and apartment complexes occupied primarily by student renters. The 19th-century buildings and streetscape of the Old West Side neighborhood have been preserved virtually intact; in 1972, the district was listed on the National Register of Historic Places (NRHP), and it is further protected by city ordinances and a nonprofit preservation group. Climate. Ann Arbor has a typically Midwestern humid continental climate (Köppen "Dfa"), which is influenced by the Great Lakes. There are four distinct seasons: winters are cold and snowy, with average highs around . Summers are warm to hot and humid, with average highs around and with slightly more precipitation. Spring and autumn are transitional between the two. The area experiences lake effect weather, primarily in the form of increased cloudiness during late fall and early winter. The monthly daily average temperature in July is , while the same figure for January is . Temperatures reach or exceed on 10 days, and drop to or below on 4.6 nights. Precipitation tends to be the heaviest during the summer months, but most frequent during winter. Snowfall, which normally occurs from November to April but occasionally starts in October, averages per season. The lowest recorded temperature was on February 11, 1885, and the highest recorded temperature was on July 24, 1934.
Demographics. Ann Arbor has seen consistent growth in population between all decennial censuses since 1860 with the exception of the 2010 census which reported almost no growth from the previous census. As of the 2020 U.S. census, there were 123,851 people and 49,337 households residing in the city, with a population density of . The racial makeup of the city including Hispanics in the racial categories was 67.6% White, 6.8% Black, 0.2% Native American, 15.7% Asian, 0.1% Native Hawaiian or Pacific Islander, 1.8% from other races, and 7.9% from two or more races. Hispanic or Latino residents of any race made up 5.5% of the population. Ann Arbor has a small population of Arab Americans, including students as well as local Lebanese and Palestinians, and a large community of Japanese nationals. According to the 2022 American Community Survey estimates, out of 49,337 households, 33.8% were married-couple households, 9.8% were cohabiting couple households, 26.1% had a male householder with no spouse present, and 30.4% had a female householder with no spouse present. 18.4% of the households had individuals under the age of 18 living in them, and 20.1% had individuals over age 65 living in them. The average household size was 2.22 people and the average family size was 2.78 people. The median age was 25.9; 12.2% of the population was under age 18, and 12.3% was age 65 or older. The percentage of city residents age 25 years or older with at least a high school degree was 97.8% while 77.5% had a bachelor's degree or higher, which is higher than the U.S. national percentage of 89.1% for persons age 25 years or older with at least a high school degree and 34.3% with a bachelor's degree or higher.
The median household income in 2022 was $78,740 (versus the U.S. national figure of $75,149), with family households having a median income of $126,292. The per capita income for the city was $52,276, which is higher than the U.S. national per capita income of $41,261. Males working full-time jobs had median earnings of $86,970 compared to $61,543 for females. Out of the 109,973 people with a determined poverty status, 23.1% were below the poverty line compared to the U.S. national poverty rate of 11.1%; the age group with the highest percentage below the poverty level was persons between 18 and 34 years at 43.0% while other age groups have percentages between 2.7% and 7.7%. Further, 3.5% of minors and 7.7% of seniors were below the poverty line. Crime. According to the Uniform Crime Reporting (UCR) program in 2022, Ann Arbor had 371 reported violent crimes (which include homicide, rape, robbery, and aggravated assault) and 2069 reported property crimes (which include arson, burglary, larceny-theft, and motor vehicle theft). With a violent crime rate of 309.5 per 100,000 people, the city's violent crime rate is lower than Michigan's rate of 461 per 100,000 people and the U.S. national rate of 380.7 per 100,000 people. However, Ann Arbor's property crime rate, at 1726.0 per 100,000 people, is higher than Michigan's property crime rate of 1536.8 per 100,000 people and lower than the U.S. national property crime rate of 1954.4 per 100,000 people.
Economy. The University of Michigan shapes Ann Arbor's economy significantly. It employs about 30,000 workers which includes about 12,000 in the medical center. Other employers are drawn to the area by the university's research and development money, and by its graduates. High tech, health services and biotechnology are other major components of the city's economy; numerous medical offices, laboratories, and associated companies are located in the city. Automobile manufacturers, such as General Motors and Visteon, also employ residents. High tech companies have located in the area since the 1930s, when International Radio Corporation introduced the first mass-produced AC/DC radio (the Kadette, in 1931) as well as the first pocket radio (the Kadette Jr., in 1933). Current firms include Arbor Networks (provider of Internet traffic engineering and security systems), Arbortext (provider of XML-based publishing software), JSTOR (the digital scholarly journal archive), Truven Health Analytics, and ProQuest, which includes UMI. Duo Security, a cloud-based access security provider of two-factor authentication, is headquartered in Ann Arbor. It was formerly a unicorn and continues to be headquartered in Ann Arbor after its acquisition by Cisco Systems. In November 2021, semiconductor test equipment company KLA Corporation opened a new North American headquarters in Ann Arbor.
Ann Arbor is the home to Internet2 and the Merit Network, a not-for-profit research and education computer network. Both are located in the South State Commons 2 building on South State Street. The city is also home to a secondary office of Google's AdWords program—the company's primary revenue stream. Ann Arbor is home to more than twenty video game and XR studios of varying sizes. The city plays host to a regional chapter of the International Game Developers Association (IGDA) which hosts monthly meetups, presentations, and educational events. The city is the home of many research and engineering centers, including the Great Lakes Environmental Research Laboratory that is operated by NOAA and the Michigan Tech Research Institute. Other research centers sited in the city are the United States Environmental Protection Agency's National Vehicle and Fuel Emissions Laboratory and the Toyota Technical Center. The city is also home to National Sanitation Foundation International (NSF International), the nonprofit non-governmental organization that develops generally accepted standards for a variety of public health related industries and subject areas.
Non-high tech companies in Ann Arbor include Domino's Pizza, headquartered on Domino's Farms, a Frank Lloyd Wright-inspired complex just northeast of the city. Another Ann Arbor-based company is Zingerman's Delicatessen, which serves sandwiches and has developed businesses under a variety of brand names. Avfuel, a global supplier of aviation fuels and services, is headquartered in Ann Arbor as is Pinkerton, a detective and private security firm. Many cooperative enterprises were founded in the city; among those that remain are the People's Food Co-op and the Inter-Cooperative Council at the University of Michigan, a student housing cooperative founded in 1937. There are also three cohousing communities—Sunward, Great Oak, and Touchstone—located immediately to the west of the city limits. Culture. Several performing arts groups and facilities are on the University of Michigan's campus, as are museums dedicated to art, archaeology, and natural history and sciences. Founded in 1879, the University Musical Society is an independent performing arts organization that presents over 60 events each year, bringing international artists in music, dance, and theater. Since 2001 Shakespeare in the Arb has presented one play by Shakespeare each June, in a large park near downtown. Regional and local performing arts groups not associated with the university include the Ann Arbor Civic Theatre, the Arbor Opera Theater, the Ann Arbor Symphony Orchestra, The Ark, and Performance Network Theatre. State Theatre and the adjacent Michigan Theater are a movie palace and a performing arts center, respectively. Another unique piece of artistic expression in Ann Arbor is the fairy doors. These small portals are examples of installation art and can be found throughout the downtown area.
The Ann Arbor Hands-On Museum, an interactive science center, is located in a renovated and expanded historic downtown fire station. The Ann Arbor Art Center is a nonprofit that organizes art activities and exhibitions. Aside from the Ann Arbor District Library, which maintains four branch outlets in addition to its main downtown building, and being the home to the Gerald R. Ford Presidential Library, Ann Arbor ranks first among U.S. cities in the number of booksellers and books sold per capita. Several annual events—many of them centered on performing and visual arts—draw visitors to Ann Arbor. One such event is the Ann Arbor Art Fairs, a set of four concurrent juried fairs held on downtown streets. Scheduled on Thursday through Sunday of the third week of July, the fairs draw upward of half a million visitors. Another is the Ann Arbor Film Festival, held during the third week of March, which receives more than 2,500 submissions annually from more than 40 countries and serves as one of a handful of Academy Award–qualifying festivals in the United States.
Ann Arbor has a long history of openness to marijuana, given Ann Arbor's decriminalization of cannabis, the large number of medical marijuana dispensaries in the city (one dispensary, called People's Co-op, was directly across the street from Michigan Stadium until zoning forced it to move one mile to the west), the large number of pro-marijuana residents, and the annual Hash Bash: an event that is held on the first Saturday of April. Until (at least) the successful passage of Michigan's medical marijuana law, the event had arguably strayed from its initial intent, although for years, a number of attendees have received serious legal responses due to marijuana use on University of Michigan property, which does not fall under the city's progressive and compassionate ticketing program. A person from Ann Arbor is called an "Ann Arborite", and many long-time residents call themselves "townies". The city itself is often called "A²" ("A-squared") or "A2" ("A two") or "AA", "The Deuce" (mainly by Chicagoans), and "Tree Town". With tongue-in-cheek reference to the city's liberal political leanings, some occasionally refer to Ann Arbor as "The People's Republic of Ann Arbor" or "25 square miles surrounded by reality." In "A Prairie Home Companion" broadcast from Ann Arbor, Garrison Keillor described Ann Arbor as "a city where people discuss socialism, but only in the fanciest restaurants." Ann Arbor sometimes appears on citation indexes as an author, instead of a location, often with the academic degree "MI", a misunderstanding of the abbreviation for Michigan.
Sports. Ann Arbor is a major center for college sports, most notably at the University of Michigan. Several well-known college sports facilities exist in the city, including Michigan Stadium, the largest American football stadium and the third-largest stadium of any kind in the world with a capacity of 107,601. The stadium is colloquially known as "The Big House" due to its status as the largest American football stadium. Crisler Center and Yost Ice Arena play host to the school's basketball (both men's and women's) and ice hockey teams, respectively. Concordia University, a member of the NAIA, also fields sports teams. In semi-professional sports Ann Arbor is represented in the NPSL by AFC Ann Arbor, a soccer club founded in 2014 who call themselves The Mighty Oak. Government. As the county seat of Washtenaw County, the Washtenaw County Trial Court (22nd Circuit Court) is located in Ann Arbor at the Washtenaw County Courthouse on Main Street. Seven judges serve on the court. The 15th Michigan district court, which serves only the city itself, is located within the Ann Arbor Justice Center, immediately next to city hall. The U.S. District Court for the Eastern District of Michigan and Court of Appeals for the Sixth Circuit are also located in downtown Ann Arbor, at the federal building on Liberty Street.
In the Michigan Legislature, the city is split between Districts 23, 33, 47, and 48 in the Michigan House of Representatives. In the Michigan Senate, Ann Arbor is covered by Districts 14 and 15. Ann Arbor is within the 6th congressional district, currently represented by Debbie Dingell. Ann Arbor has a council–manager form of government, with 11 voting members: the mayor and 10 city council members. Each of the city's five wards are represented by two council members, with the mayor elected at-large during midterm years. Half of the council members are elected in midterm years, with the other in general election years. The mayor is the presiding officer of the city council and has the power to appoint all council committee members as well as board and commission members, with the approval of the city council. The current mayor of Ann Arbor is Christopher Taylor, a Democrat who was elected as mayor in 2014. Day-to-day city operations are managed by a city administrator chosen by the city council. While Democrats, hold the mayorship and all ten council seats, Ann Arbor has two major political factions. A major source of this local divide is differences in views on the city's growth.
Education. Primary and secondary education. Public schools are part of the Ann Arbor Public Schools (AAPS) district. AAPS has one of the country's leading music programs. For the 2021–2022 school year, 17,070 students were enrolled in the Ann Arbor Public Schools. Notable schools include Pioneer, Huron, Skyline, Community high schools, Pathways to Success Academic Campus, and Ann Arbor Open School. The district has a preschool center with both free and tuition-based programs for preschoolers in the district. The University High School, a "demonstration school" with teachers drawn from the University of Michigan's education program, was part of the school system from 1924 to 1968. Ann Arbor is home to several private schools, including Clonlara School, Michigan Islamic Academy, and Greenhills School, a prep school. The city is also home to several charter schools such as Central Academy (Michigan) (PreK–12) of the Global Educational Excellence (GEE) charter school company. Higher education. The University of Michigan dominates the city of Ann Arbor, providing the city with its distinctive college-town character. University buildings are located in the center of the city and the campus is directly adjacent to the State Street and South University downtown areas.
Other local colleges and universities include Concordia University Ann Arbor, a Lutheran liberal-arts institution. Washtenaw Community College is located in neighboring Ann Arbor Township. In 2000, the Ave Maria School of Law, a Roman Catholic law school established by Domino's Pizza founder Tom Monaghan, opened in northeastern Ann Arbor, but the school moved to Ave Maria, Florida in 2009, and the Thomas M. Cooley Law School acquired the former Ave Maria buildings for use as a branch campus. Media. "The Ann Arbor News", owned by the Michigan-based Booth Newspapers chain, was the major newspaper serving Ann Arbor and the rest of Washtenaw County. The newspaper ended its 174-year daily print run in 2009 due to economic difficulties, and began producing two printed editions a week under the name AnnArbor.com. Ann Arbor has been said to be the first significant city to lose its only daily paper. The publication resumed using its former name in 2013, and also produces a daily digital edition named MLive.com. Another Ann Arbor-based publication that has ceased production was the "Ann Arbor Paper", a free monthly. The "Ann Arbor Chronicle", an online newspaper, covered local news, including meetings of the library board, county commission, and DDA until September 3, 2014.
Current publications in the city include the "Ann Arbor Journal" ("A2 Journal"), a weekly community newspaper; the "Ann Arbor Observer", a free monthly local magazine; and "Current", a free entertainment-focused alt-weekly. The "Ann Arbor Business Review" covers local business in the area. "Car and Driver" magazine and "Automobile Magazine" are also based in Ann Arbor. The University of Michigan is served by many student publications, including the independent "Michigan Daily" student newspaper, which reports on local, state, and regional issues in addition to campus news. Four major AM radio stations based in or near Ann Arbor are WAAM 1600, a conservative news and talk station; WLBY 1290, a business news and talk station; WDEO 990, Catholic radio; and WTKA 1050, which is primarily a sports station. The city's FM stations include NPR affiliate WUOM 91.7; country station WWWW 102.9; and adult-alternative station WQKL 107.1. Freeform station WCBN-FM 88.3 is a local community radio/college radio station operated by the students of the University of Michigan featuring noncommercial, eclectic music and public-affairs programming. The city is also served by public and commercial radio broadcasters in Ypsilanti, the Lansing/Jackson area, Detroit, Windsor, and Toledo.
Ann Arbor is part of the Detroit television market. WPXD channel 31, the owned-and-operated Detroit outlet of the ION Television network, is licensed to the city. Until its sign-off on August 31, 2017, WHTV channel 18, a MyNetworkTV-affiliated station for the Lansing market, was broadcast from a transmitter in Lyndon Township, west of Ann Arbor. Community Television Network (CTN) is a city-provided cable television channel with production facilities open to city residents and nonprofit organizations. Detroit and Toledo-area radio and television stations also serve Ann Arbor, and stations from Lansing and Windsor, Ontario, can be seen in parts of the area. Infrastructure. Healthcare. The University of Michigan Health System (UMHS) includes University Hospital, C.S. Mott Children's Hospital and Women's Hospital in its core complex. UMHS also operates out-patient clinics and facilities throughout the city. The area's other major medical centers include a large facility operated by the Department of Veterans Affairs in Ann Arbor, and Saint Joseph Mercy Hospital in nearby Superior Township.
Utilities. The city provides sewage disposal and water supply services, with water coming from the Huron River and groundwater sources. There are two water-treatment plants, one main and three outlying reservoirs, four pump stations, and two water towers. These facilities serve the city, which is divided into five water districts. The city's water department also operates four dams along the Huron River—Argo, Barton, Geddes, and Superior—of which Barton and Superior provide hydroelectric power. The city also offers waste management services, with Recycle Ann Arbor handling recycling service. Other utilities are provided by private entities. Electrical power and gas are provided by DTE Energy. AT&T Inc. is the primary wired telephone service provider for the area. Cable TV service is primarily provided by Comcast. A plume of the industrial solvent dioxane is migrating under the city from the contaminated Gelman Sciences, Inc. property on the westside of Ann Arbor. the average measured concentration was found to be 201.19 ppb, with the maximum being 6.000 ppm. While the United States Environmental Protection Agency does not impose a federal limit on the level of the contaminant allowed in drinking water, the World Health Organization suggests a limit of 35 ppb. The Gelman plume is a potential threat to one of the City of Ann Arbor's drinking water sources, the Huron River, which flows through downtown Ann Arbor.
Transportation. The streets in downtown Ann Arbor conform to a grid pattern, though this pattern is less common in the surrounding areas. Major roads branch out from the downtown district to the highways surrounding the city. The city is belted by three freeways: Interstate 94 (I-94), which runs along the southern and western portion of the city; U.S. Highway 23 (US 23), which primarily runs along the eastern edge of Ann Arbor; and M-14, which runs along the northern edge of the city. Other nearby highways include US 12 (Michigan Avenue), M-17 (Washtenaw Avenue), and M-153 (Ford Road). Several of the major surface arteries lead to the I-94/M-14 interchange in the west, US 23 in the east, and the city's southern areas. The Washtenaw County Border-to-Border Trail connects Ann Arbor to Ypsilanti, mostly along the Huron River, for pedestrians, bicycles and other non-motorized transportation. The Ann Arbor Area Transportation Authority (AAATA), which brands itself as "TheRide", operates public bus services throughout the city and nearby Ypsilanti. The AAATA operates the Blake Transit Center on Fourth Ave. in downtown Ann Arbor, and the Ypsilanti Transit Center. A separate zero-fare bus service operates within and between the University of Michigan campuses. In 2019, 36% of trips in Ann Arbor were taken by walking, biking or transit.
Since April 2012, the "AirRide" connects to Detroit Metro Airport a dozen times a day. The Michigan Flyer, a service operated by Indian Trails, cooperates with AAATA for their AirRide and additionally offers bus service to East Lansing. Greyhound Lines provides intercity bus service. Megabus has direct service to Chicago, Illinois, while a bus service is provided by Amtrak Thruway for rail passengers making connections to services in East Lansing and Toledo, Ohio. Amtrak, which provides service to the city at the Ann Arbor Train Station, operates the "Wolverine" train between Chicago and Pontiac via Detroit. The present-day train station neighbors the city's old Michigan Central Depot, which was renovated as a restaurant in 1970. Ann Arbor Municipal Airport is a small, city-run general aviation airport located south of I-94. Sister cities. Ann Arbor has eight sister cities:
Act of Settlement 1701 The Act of Settlement (12 & 13 Will. 3. c. 2) is an act of the Parliament of England that settled the succession to the English and Irish crowns to only Protestants, which passed in 1701. More specifically, anyone who became a Roman Catholic, or who married one, became disqualified to inherit the throne. This had the effect of deposing the remaining descendants of Charles I, other than his Protestant granddaughter Anne, as the next Protestant in line to the throne was Sophia of Hanover. Born into the House of Wittelsbach, she was a granddaughter of James VI and I from his most junior surviving line, with the crowns descending only to her non-Catholic heirs. Sophia died less than two months before Queen Anne, and Sophia's son succeeded to the throne as King George I, starting the Hanoverian dynasty in Britain. The Act of Supremacy 1558 (1 Eliz. 1. c. 1) had confirmed the independence of the Church of England from Roman Catholicism under the English monarch. One of the principal factors which contributed to the Glorious Revolution was the perceived assaults made on the Church of England by King James II, a Roman Catholic, who was deposed in favour of his Protestant daughter Mary II and her husband William III. The need for this Act of Settlement was prompted by the inability of William and Mary, as well as of Mary's Protestant sister (the future Queen Anne), to produce any surviving children, and by the perceived threat posed by the pretensions to the throne by remaining Roman Catholic members of the House of Stuart.
The act played a key role in the formation of the Kingdom of Great Britain as, though England and Scotland had shared a monarch since 1603, they had remained separately governed countries, with the Act catalysing the Union of England and Scotland. However, the Parliament of Scotland was more reluctant to abandon the House of Stuart, members of which had been Scottish monarchs long before they became English. Moreover, the Act also placed limits on both the role of foreigners in the British government and the power of the monarch with respect to the Parliament of England, though some of those provisions have been altered by subsequent legislation. Along with the Bill of Rights 1689, the Act of Settlement remains today one of the main constitutional laws governing the succession not only to the throne of the United Kingdom, but to those of the other Commonwealth realms, whether by assumption or by patriation. The Act of Settlement cannot be altered in any realm except by that realm's own parliament and, by convention, only with the consent of all the other realms, as it touches on the succession to the shared crown. On 26 March 2015, following the Perth Agreement, legislation amending the Act came into effect across the Commonwealth realms that removed the disqualification arising from marriage to a Roman Catholic and instituted absolute primogeniture.
Background. Following the Glorious Revolution, the line of succession to the English throne was governed by the Bill of Rights 1689, which declared that the flight of James II from England to France during the revolution amounted to an abdication of the throne and that James's daughter Mary II and her husband/cousin, William III (William of Orange, who was also James's nephew), were James's successors. The Bill of Rights also provided that the line of succession would go through Mary's Protestant descendants by William and any possible future husband should she outlive him, then through Mary's sister Anne and her Protestant descendants, and then to the Protestant descendants of William III by a possible later marriage should he outlive Mary. During the debate, the House of Lords had attempted to append Sophia and her descendants to the line of succession, but the amendment failed in the Commons. Mary II died childless in 1694, after which William III did not remarry. In 1700, Prince William, Duke of Gloucester, who was Anne's only child to survive infancy, died of what may have been smallpox at the age of 11. Thus, Anne was left as the only person in line to the throne. The Bill of Rights excluded Catholics from the throne, which ruled out James II and his children (as well as their descendants) sired after he converted to Catholicism in 1668. However, it did not provide for the further succession after Anne. Parliament thus saw the need to settle the succession on Sophia and her descendants, and thereby guarantee the continuity of the Crown in the Protestant line.
With religion and lineage initially decided, the ascendancy of William of Orange in 1689 would also bring his partiality to his Dutch favourites that followed. By 1701, anti-Dutch sentiment was widespread in England and action was considered necessary. The act. The Act of Settlement provided that the throne would pass to the Electress Sophia of Hanover – a granddaughter of James VI and I and a niece of King Charles I – and her descendants, but it excluded "for ever" "all and every Person and Persons who ... is are or shall be reconciled to or shall hold Communion with the See or Church of Rome or shall profess the Popish Religion or shall marry a Papist". Thus, those who were Roman Catholics, and those who married Roman Catholics, were barred from ascending the throne. Conditional provisions. The act contained eight additional provisions that were to only come into effect upon the death of both William and Anne: Firstly, the monarch "shall join in communion with the Church of England". This was intended to ensure the exclusion of a Roman Catholic monarch. Along with James II's perceived despotism, his religion was the main cause of the Glorious Revolution, and of the previous linked religious and succession problems which had been resolved by the joint monarchy of William III and Mary II.
Second, if a person not native to England comes to the throne, England will not wage war for "any dominions or territories which do not belong to the Crown of England, without the consent of Parliament". This would become relevant when a member of the House of Hanover ascended the British throne, as he would retain the territories of the Electorate of Hanover in what is now Lower Saxony (Germany), then part of the Holy Roman Empire. This provision has been dormant since Queen Victoria ascended the throne, because she did not inherit Hanover under the Salic Laws of the German-speaking states. Third, no monarch may leave "the dominions of England, Scotland, or Ireland", without the consent of Parliament. This provision was repealed in 1716, at the request of George I who was also the Elector of Hanover and Duke of Brunswick-Lüneburg within the Holy Roman Empire; because of this, and also for personal reasons, he wished to visit Hanover from time to time. Fourth, all government matters within the jurisdiction of the Privy Council were to be transacted there, and all council resolutions were to be signed by those who advised and consented to them. This was because Parliament wanted to know who was deciding policies, as sometimes councillors' signatures normally attached to resolutions were absent. This provision was repealed early in Queen Anne's reign, as many councillors ceased to offer advice and some stopped attending meetings altogether.
Fifth, no foreigner ("no Person born out of the Kingdoms of England Scotland or Ireland or the Dominions thereunto belonging"), even if naturalised or made a denizen (unless born of English parents), can be a Privy Councillor or a member of either House of Parliament, or hold "any Office or Place of Trust, either Civill or Military, or to have any Grant of Lands, Tenements or Hereditaments from the Crown, to himself or to any other or others in Trust for him". Subsequent nationality laws (today primarily the British Nationality Act 1981) made naturalised citizens the equal of those native born, and excluded Commonwealth citizens from the definition of foreigners, and citizens of the Irish Republic from the definition of aliens, but otherwise this provision still applies. It has however been disapplied in particular cases by a number of other statutes. Sixth, no person who has an office under the monarch, or receives a pension from the Crown, was to be a Member of Parliament. This provision was inserted to avoid unwelcome royal influence over the House of Commons. It remains in force, but with several exceptions; ministers of the Crown were exempted early on before Anne's death in order to continue some degree of royal patronage, but had to stand for a by-election to re-enter the House upon such appointment until 1926. As a side effect, this provision means that members of the Commons seeking to resign from parliament can get around the prohibition on resignation by obtaining a sinecure in the control of the Crown; while several offices have historically been used for this purpose, two are currently in use: appointments generally alternate between the stewardships of the Chiltern Hundreds and of the Manor of Northstead.
Seventh, judges' commissions are valid "quamdiu se bene gesserint" (during good behaviour) and if they do not behave themselves, they can be removed only by both Houses of Parliament (or in other Commonwealth realms the one House of Parliament, depending on the legislature's structure). This provision was the result of various monarchs influencing judges' decisions, and its purpose was to assure judicial independence. This patent was used prior to 1701 but did not prevent Charles I from removing Sir John Walter as Chief Baron of the Exchequer. Eighth, that "no Pardon under the Great Seal of England be pleadable to an Impeachment by the Commons in Parliament". This meant in effect that no pardon by the monarch was to save someone from being impeached by the House of Commons. Opposition. The Tory administration that replaced the Whig Junto in 1699 took responsibility for steering the Act through Parliament. As a result, it passed with little opposition, although five peers voted against it in the House of Lords, including the Earl of Huntingdon, his brother-in-law the Earl of Scarsdale and three others. While many shared their opposition to a "foreign" king, the general feeling was summed up as "better a German prince than a French one".
Legacy. For different reasons, various constitutionalists have praised the Act of Settlement: Henry Hallam called the Act "the seal of our constitutional laws" and David Lindsay Keir placed its importance above the Bill of Rights of 1689. Naamani Tarkow wrote: "If one is to make sweeping statements, one may say that, save Magna Carta (more truly, its implications), the Act of Settlement is probably the most significant statute in English history". Union of Scotland with England and Wales. The Act of Settlement was, in many ways, the major cause of the union of Scotland with England and Wales to form the Kingdom of Great Britain. The Parliament of Scotland had not been consulted about the Act of Settlement, and, in response, passed the Act of Security 1704, through which Scotland reserved the right to choose its own successor to Queen Anne. Stemming from this, the Parliament of England decided that, to ensure the stability and future prosperity of Great Britain, full union of the two parliaments and nations was essential before Anne's death.
It used a combination of exclusionary legislation (the Alien Act 1705), politics, and bribery to achieve this within three years under the Act of Union 1707. This success was in marked contrast to the four attempts at political union between 1606 and 1689, which all failed owing to a lack of political will in both kingdoms. By virtue of Article II of the Treaty of Union, which defined the succession to the throne of Great Britain, the Act of Settlement became part of Scots law as well. Succession to the Crown. In addition to excluding James II, who died a few months after the act received royal assent, and his Roman Catholic children, Prince James ("The Old Pretender") and the Princess Royal, the Act also excluded the descendants of Princess Henrietta, the youngest sister of James II. Henrietta's daughter was Anne, Queen of Sardinia, a Roman Catholic, from whom descend all Jacobite pretenders after 1807. With the legitimate descendants of Charles I either childless (in the case of his two grand-daughters the late Queen Mary II and her successor Queen Anne) or Roman Catholic, Parliament's choice was limited to Sophia of Hanover, the Protestant daughter of the late Elizabeth of Bohemia, the only other child of King James I to have survived childhood. Elizabeth had borne nine children who reached adulthood, of whom Sophia was the youngest daughter. However in 1701 Sophia was the senior Protestant one, therefore with a legitimate claim to the English throne; Parliament passed over her Roman Catholic siblings, namely her sister Louise Hollandine of the Palatinate, and their descendants, who included Elizabeth Charlotte, Duchess of Orléans; Louis Otto, Prince of Salm, and his aunts; Anne Henriette, Princess of Condé, and Benedicta Henrietta, Duchess of Brunswick-Lüneburg.
Removal from the succession due to Catholicism. Since the act's passing the most senior living member of the royal family to have married a Roman Catholic, and thereby to have been removed from the line of succession, is Prince Michael of Kent, who married Baroness Marie-Christine von Reibnitz in 1978; he was fifteenth in the line of succession at the time. He was restored to the line of succession in 2015 when the Succession to the Crown Act 2013 came into force, and became 34th in line. The next most senior living descendant of the Electress Sophia who had been ineligible to succeed on this ground is George Windsor, Earl of St Andrews, the elder son of Prince Edward, Duke of Kent, who married the Roman Catholic Sylvana Palma Tomaselli in 1988. His son, Lord Downpatrick, converted to Roman Catholicism in 2003 and is the most senior descendant of Sophia to be barred as a result of his religion. In 2008 his daughter, Lady Marina Windsor, also converted to Catholicism and was removed from the line of succession. More recently, Peter Phillips, the son of Anne, Princess Royal, and eleventh in line to the throne, married Autumn Kelly; Kelly had been brought up as a Roman Catholic, but she converted to Anglicanism prior to the wedding. Had she not done so, Phillips would have forfeited his place in the succession upon their marriage, only to have it restored in 2015.
Excluding those princesses who have married into Roman Catholic royal families, such as Marie of Edinburgh, Victoria Eugenie of Battenberg and Princess Beatrice of Edinburgh, one member of the Royal Family (that is, with the style of "Royal Highness") has converted to Roman Catholicism since the passage of the Act: the Duchess of Kent, wife of Prince Edward, Duke of Kent, who converted on 14 January 1994, but her husband did not lose his place in the succession because she was an Anglican at the time of their marriage. Present status. As well as being part of the law of the United Kingdom, the Act of Settlement was received into the laws of all the countries and territories over which the British monarch reigned. It remains part of the laws of the 15 Commonwealth realms and the relevant jurisdictions within those realms. In accordance with established convention, the Statute of Westminster 1931 and later laws, the Act of Settlement (along with the other laws governing the succession of the Commonwealth realms) may only be changed with the agreement of all the realms (and, in some federal realms, the constituent members of those federations). The Succession to the Crown Act 2013 changed many provisions of this Act.
Amendment proposals. Challenges have been made against the Act of Settlement, especially its provisions regarding Roman Catholics and preference for males. However, changing the act is a complex process, since the act governs the shared succession of all the Commonwealth realms. The Statute of Westminster 1931 acknowledges by established convention that any changes to the rules of succession may be made only with the agreement of all of the states involved, with concurrent amendments to be made by each state's parliament or parliaments. Further, as the current monarch's eldest child and, in turn, his eldest child, are Anglican males, any change to the succession laws would have no immediate implications. Consequently, there was little public concern with the issues and debate had been confined largely to academic circles until the November 2010 announcement that Prince William was to marry. This raised the question of what would happen if he were to produce first a daughter and then a son. "The Times" reported on 6 November 1995 that Prince Charles had said on that day to Tony Blair and Paddy Ashdown that "Catholics should be able to ascend to the British throne". Ashdown claimed the Prince said: "I really can't think why we can't have Catholics on the throne". In 1998, during debate on a Succession to the Crown Bill, Junior Home Office Minister Lord Williams of Mostyn informed the House of Lords that the Queen had "no objection to the Government's view that in determining the line of succession to the throne, daughters and sons should be treated in the same way."
Australia. In October 2011 the Australian federal government was reported to have reached an agreement with all of the states on potential changes to their laws in the wake of amendments to the Act of Settlement. The practice of the Australian states—for example, New South Wales and Victoria—has been, when legislating to repeal some imperial statutes so far as they still applied in Australia, to provide that imperial statutes concerning the royal succession remain in force. The legal process required at the federal level remains, theoretically, unclear. The Australian constitution, as was noted during the crisis of 1936, contains no power for the federal parliament to legislate with respect to the monarchy. Everything thus turns upon the status and meaning of clause 2 in the Commonwealth of Australia Constitution Act 1900, which provides: "The provisions of this Act referring to the Queen shall extend to Her Majesty's heirs and successors in the sovereignty of the United Kingdom." Anne Twomey reviews three possible interpretations of the clause.
However, Twomey expresses confidence that, if the High Court of Australia were to be faced with the problems of covering clause 2, it would find some way to conclude that, with regard to Australia, the clause is subject solely to Australian law. Canadian scholar Richard Toporoski theorised in 1998 that "if, let us say, an alteration were to be made in the United Kingdom to the Act of Settlement 1701, providing for the succession of the Crown... [i]t is my opinion that the domestic constitutional law of Australia or Papua New Guinea, for example, would provide for the succession in those countries of the same person who became Sovereign of the United Kingdom." In practice, when legislating for the Perth Agreement (see below), the Australian governments took the approach of the states requesting, and referring power to, the federal government to enact the legislation on behalf of the states (under paragraph 51(xxxviii) of the Australian Constitution) and the Commonwealth of Australia. Canada.
With the announcement in 2007 of the engagement of Peter Phillips to Autumn Kelly, a Roman Catholic and a Canadian, discussion about the Act of Settlement was revived. Norman Spector called in "The Globe and Mail" for Prime Minister Stephen Harper to address the issue of the Act's bar on Catholics, saying Phillips' marriage to Kelly would be the first time the provisions of the Act would bear directly on Canada—Phillips would be barred from acceding to the Canadian throne because he married a Roman Catholic Canadian. (In fact, Lord St Andrews had already lost his place in the line of succession when he married the Roman Catholic Canadian Sylvana Palma Tomaselli in 1988. But St Andrews' place in the line of succession was significantly lower than Phillips'.) Criticism of the Act of Settlement due to the Phillips–Kelly marriage was muted when Autumn Kelly converted to Anglicanism shortly before her marriage, thus preserving her husband's place in the line of succession. United Kingdom.
When in December 1978 there was media speculation that Prince Charles might marry a Roman Catholic, Powell defended the provision that excludes Roman Catholics from ascending the throne, stating his objection was not rooted in religious bigotry but in political considerations. He said a Roman Catholic monarch would mean the acceptance of a source of authority external to the realm and "in the literal sense, foreign to the Crown-in-Parliament ... Between Roman Catholicism and royal supremacy there is, as Saint Thomas More concluded, no reconciliation." Powell concluded that a Roman Catholic crown would be the destruction of the Church of England because "it would contradict the essential character of that church." He continued: When Thomas Hobbes wrote that "the Papacy is no other than the ghost of the deceased Roman Empire sitting crowned upon the grave thereof", he was promulgating an enormously important truth. Authority in the Roman Church is the exertion of that "imperium" from which England in the 16th century finally and decisively declared its national independence as the "alter imperium", the "other empire", of which Henry VIII declared "This realm of England is an empire" ... It would signal the beginning of the end of the British monarchy. It would portend the eventual surrender of everything that has made us, and keeps us still, a nation.
The Scottish Parliament unanimously passed a motion in 1999 calling for the complete removal of any discrimination linked to the monarchy and the repeal of the Act of Settlement. The following year, "The Guardian" challenged the succession law in court, claiming that it violated the European Convention on Human Rights, which provides, The enjoyment of the rights and freedoms set forth in this Convention shall be secured without discrimination on any ground such as sex, race, colour, language, religion, political or other opinion, national or social origin, association with a national minority, property, birth, or other status. As the Convention nowhere lists the right to succeed to the Crown as a human right, the challenge was rejected.
In December 2004, a private member's bill—the Succession to the Crown Bill—was introduced in the House of Lords. The government, headed by Tony Blair, blocked all attempts to revise the succession laws, claiming it would raise too many constitutional issues and it was unnecessary at the time. In the British general election the following year, Michael Howard promised to work towards having the prohibition removed if the Conservative Party gained a majority of seats in the House of Commons, but the election was won by Blair's Labour Party. Four years later, plans drawn up by Chris Bryant were revealed that would end the exclusion of Catholics from the throne and end the doctrine of male-preference primogeniture in favour of absolute primogeniture, which governs succession solely on birth order and not on sex. The issue was raised again in January 2009, when a private member's bill to amend the Act of Succession was introduced in parliament. Across the realms. In early 2011 Keith Vaz, a Labour Member of Parliament, introduced to the House of Commons at Westminster a private member's bill which proposed that the Act of Settlement be amended to remove the provisions relating to Roman Catholicism and change the primogeniture governing the line of succession to the British throne from male-preference to absolute cognatic. Vaz sought support for his project from the Canadian Cabinet and Prime Minister Stephen Harper, but the Office of the Prime Minister of Canada responded that the issue was "not a priority for the government or for Canadians without further elaboration on the merits or drawbacks of the proposed reforms". Stephenson King, Prime Minister of Saint Lucia, said he supported the idea and it was reported that the government of New Zealand did, as well. The Monarchist League of Canada said at the time to the media that it "supports amending the Act of Settlement in order to modernize the succession rules."
Later the same year, the Deputy Prime Minister of the United Kingdom, Nick Clegg, announced that the government was considering a change in the law. At approximately the same time, it was reported that British Prime Minister David Cameron had written to each of the prime ministers of the other fifteen Commonwealth realms, asking for their support in changing the succession to absolute primogeniture and notifying them he would raise his proposals at that year's Commonwealth Heads of Government Meeting (CHOGM) in Perth, Australia. Cameron reportedly also proposed removing the restriction on successors being or marrying Roman Catholics; however, potential Roman Catholic successors would be required to convert to Anglicanism prior to acceding to the throne. In reaction to the letter and media coverage, Harper stated that, this time, he was "supportive" of what he saw as "reasonable modernizations". At the 2011 Commonwealth Heads of Government Meeting on 28 October 2011, the prime ministers of the other Commonwealth realms agreed to support Cameron's proposed changes to the Act. The bill put before the Parliament of the United Kingdom would act as a model for the legislation required to be passed in at least some of the other realms, and any changes would only first take effect if the Duke of Cambridge were to have a daughter before a son.
The British group Republic asserted that succession reform would not make the monarchy any less discriminatory. As it welcomed the gender equality reforms, the British newspaper "The Guardian" criticized the lack of a proposal to remove the ban on Catholics sitting on the throne, as did Alex Salmond, First Minister of Scotland, who pointed out that "It is deeply disappointing that the reform [of the Act of Settlement of 1701] has stopped short of removing the unjustifiable barrier on a Catholic becoming monarch." On the subject, Cameron asserted: "Let me be clear, the monarch must be in communion with the Church of England because he or she is the head of that Church." The disqualification arising from marriage to a Roman Catholic was removed by the Succession to the Crown Act 2013.
Aircraft hijacking Aircraft hijacking (also known as airplane hijacking, skyjacking, plane hijacking, plane jacking, air robbery, air piracy, or aircraft piracy, with the last term used within the special aircraft jurisdiction of the United States) is the unlawful seizure of an aircraft by an individual or a group. Dating from the earliest of hijackings, most cases involve the pilot being forced to fly according to the hijacker's demands. There have also been incidents where the hijackers have overpowered the flight crew, made unauthorized entry into the cockpit and flown them into buildings—most notably in the September 11 attacks—and in some cases, planes have been hijacked by the official pilot or co-pilot, such as with Ethiopian Airlines Flight 702. Unlike carjacking or sea piracy, an aircraft hijacking is not usually committed for robbery or theft. Individuals driven by personal gain often divert planes to destinations where they are not planning to go themselves. Some hijackers intend to use passengers or crew as hostages, either for monetary ransom or for some political or administrative concession by authorities. Various motives have driven such occurrences, such as demanding the release of certain high-profile individuals or for the right of political asylum (notably Ethiopian Airlines Flight 961), but sometimes a hijacking may have been affected by a failed private life or financial distress, as in the case of Aarno Lamminparras in Finnair Flight 405. Hijackings involving hostages have produced violent confrontations between hijackers and the authorities, during negotiation and settlement. In several casesmost famously Air France Flight 139, Lufthansa Flight 181, and Air France Flight 8969the hijackers were not satisfied and showed no inclination to surrender, resulting in the deployment of counterterrorist police tactical units or special forces to rescue the passengers.
In most jurisdictions of the world, aircraft hijacking is punishable by life imprisonment or a long prison sentence. In most jurisdictions where the death penalty is a legal punishment, aircraft hijacking is a capital crime, including in China, India, Liberia, and the U.S. states of Georgia and Mississippi. History. Airplane hijackings have occurred since the early days of flight. These can be classified in the following eras: 1929–1957, 1958–1979, 1980–2000 and 2001–present. Early incidents involved light planes, but this later involved passenger aircraft as commercial aviation became widespread. 1929–1957. Between 1929 and 1957, there were fewer than 20 incidents of reported hijackings worldwide; several occurred in Eastern Europe. One of the first unconfirmed hijackings occurred in December 1929. J. Howard "Doc" DeCelles was flying a postal route for a Mexican firm, Transportes Aeras Transcontinentales, ferrying mail from San Luis Potosí to Torreon and then on to Guadalajara. Saturnino Cedillo, the governor of the state of San Luis Potosí, ordered him to divert. Several other men were also involved, and through an interpreter, DeCelles had no choice but to comply. He was allegedly held captive for several hours under armed guard before being released.

Subsets and Splits

No community queries yet

The top public SQL queries from the community will appear here once available.