Undergraduate Review
Volume 12 | Issue 1
Article 5
2000
Frederic Auguste Bartholdi and the Statue of
Liberty
Daniel J. Carden '00
Illinois Wesleyan University
Recommended Citation
Carden '00, Daniel J. (2000) "Frederic Auguste Bartholdi and the Statue of Liberty," Undergraduate Review: Vol. 12: Iss. 1,
Article 5.
Available at: http://digitalcommons.iwu.edu/rev/vol12/iss1/5
This Article is brought to you for free and open access by The Ames Library, the Andrew W. Mellon Center for Curricular and Faculty
Development, the Office of the Provost and the Office of the President. It has been accepted for inclusion in Digital Commons @ IWU by
the faculty at Illinois Wesleyan University. For more information, please contact [email protected].
©Copyright is owned by the author of this document.
Carden '00: Frederic Auguste Bartholdi and the Statue of Liberty
Ie Perfection of the Shrouded Rebellion: Re­
\.1aria Luis Bombal." Women writers in
)ain and Spanish America. Ed. Catherine
lwin Mellon P, 1993.
Mango Street. Houston: Arte Publico P,
:ncio y Rebeldia: Hacia una Valoracion de
Dentro de la Tradicion de Escritura
~isa Bombal: Apreciaciones Criticas. Ed.
I. Tempe: Bilingual P, 1987.
rouded Woman: Marriage and Its Constraints
ria Luisa Bombal." Latin American Literary
): 21-20.
)ne's Own. London: Brace and Co., 1929.
Frederic Auguste Bartholdi
and the Statue of Liberty
By Daniel J Carden
W
ith many modern art pieces, it is practically impossible
to separate the artist from the art. Because most works of
modern art tackle a subject that is uniquely personal to the
artist who created the piece, the viewer must have a complete knowledge of
where the piece fits into the history of art and where it fits into the artist's
own biography to truly understand the meaning of the piece in the context
it was created. This is not to say, however, that the art form is always
inescapably tied to the artists. Going back a century, it becomes possible to
consider separately the artist and his art. In any creative endeavor, some
aspects of the creator will come though in his creation, but generally, an
artist who presents big ideas in his work goes beyond attaching just a per­
sonal meaning to his art and manages to create something that has a col­
lective meaning for all men. In this case, I am specifically referring to
Frederic Auguste Bartholdi and his masterpiece, Liberty Enlightening the
World, henceforth referred to as the Statue of Liberty. The idea of "liberty"
is one that has challenged men for generations; Bartholdi's nineteenth-cen­
tury personification of that seemingly ungraspable idea therefore demands
the art form to be placed in its appropriate context. To that end, this paper
will first examine the career and work of Bartholdi: his style, subject mat­
ter, and critical assessment; and second, use the Statue of Liberty as an
example of Bartholdi's artistic direction and concerns, in order to more
fully understand and place the man and the piece in their proper context.
Bartholdi's mature artistic style can be summed up in one word: big. He
was no Medardo Rosso shaping minute sculptures out of wax, Bartholdi's
colossal pieces tower over everything and everyone who see them. Inspired
by the pyramids and the Sphinx on a trip to Egypt in 1855, Bartholdi told
his companions that he would build a new statue for Egypt-twice the size
Published by Digital Commons @ IWU, 2000
1
23
Undergraduate
The Undergraduate
Review Review, Vol. 12, Iss. 1 [2000], Art. 5
of the Sphinx. Bartholdi called the Egyptian figures "granite beings of
imperturbable majesty, whose benevolent and impassive gaze seems to
despise the present and to be fixed on the limitless future" (Blanchet 23).
Returning to Paris, Bartholdi said, "When I discover a subject grand
enough, I will honor that subject by building the tallest statue in the
world" (Price 29). Thus, Bartholdi quenches the desire to tackle big sub­
jects by creating big pieces. Interestingly, Bartholdi did not start his artistic
career sculpting massive statues, but worked instead with small clay pieces,
shaping three-dimensional representations of characters created by artist
and illustrator Theophile Schuler in his native town of Colmar in the
Alsace region of France. Bartholdi's first attempt at a life-size sculpture, of
the founder of the convent at Colmar, caught the attention of sculptor
Antoine Etex, whose figures were placed on the Arch of Triumph in Paris.
But most influential on Bartholdi's style was the time he spent in the
workshops of Ary Scheffer. As a young man, Scheffer had lived in the
United States with Marquis de Lafayette, the Frenchman who did nearly as
much as George Washington to help America break their colonial ties to
Great Britain; later, Scheffer painted a portrait of Lafayette that now hangs
in the U.S. House of Representatives. As a place to experiment with paint
and canvas and clay, in Scheffer's studio, Bartholdi completely ignored his
school work and molded a future for himself in art.
Bartholdi's range of artistic influences include illustrators, sculptors,
painters and later, Eugene Viollet-le-duc, the architect who restored Notre
Dame Cathedral. What is significant about Bartholdi's influences are the
names that are not mentioned. Degas, Rodin, and Manet were all contem­
poraries of Bartholdi. While they were breaking new ground in subject mat­
ter, color, form, and the use of light, Bartholdi stuck to traditional notions
of artistic beauty. While the early modernists struggled for acceptance,
Bartholdi was getting commissions. With his first commission coming at
age 19, Bartholdi quickly developed a reputation as an excellent creator of
public monuments. His mature style developed from these experiences. He
told the New York World in 1878: "I have a horror of all frippery in detail
in sculpture. The forms and effects of that art should be broad, massive and
simple" (Blanchet 22). Inspired by colossal Egyptian sculpture to create
pieces for large-scale public spaces, Bartholdi avoided the preoccupation
with nuances of style and detail that obsessed his contemporaries and creat­
ed the quintessential public monument: simple, lacking excessive ornamen­
tation, with an easy to understand, yet deeply significant meaning.
Certainly Bartholdi's best known piece, the Statue of Liberty, meets all of
http://digitalcommons.iwu.edu/rev/vol12/iss1/5
2
24
....,'"
'
these criteria, yet that spirit is reflected in his
nificant works. At 19, Bartholdi was commis
Colmar to sculpt a 12-foot-high statue of Ge
native who had been an aide-de-camp to Na)
at his own studio in Paris, Bartholdi's Genera
Salon of 1855, yet was too tall to fit into the
solved this problem by displaying General RA
Champs Elysees, a move that undoubtedly bl
and raised the ire, of every exhibitor in the h
took his fateful trip to Egypt while General [,
of this first monument set him on a road tha
statues, busts, sculpcures on building facades
Bartholdi found the fame and fortune th~
nities to make Egyptian-like colossal sculptu
though this was certainly not for a lack of id
of the Suez Canal in Egypt and supervised b
Lesseps in the late 1860s, Bartholdi drew up
lighthouse to be located at the entrance of d
the project to be of equal weight to the creal
to be a robed woman holding a torch aloft, :
his works would finally stand among the od
cures. Broke and unable to afford this new V'
ruler Ismail Pasha let Bartholdi know that d
Blanchet writes, the aborted Egyptian statue
Bartholdi's career because "[h]e was living ir:
began to crave grand memorials to their gro­
times were right for Bartholdi's old-fashione:
memorial marking the 1870 Franco-Prussia.
native Colmar and Alsace were gobbled up I
Belfort (1880) showed that even though Fra.­
had their courage. This massive 24-meter-lo
cure, which also functioned as a tool of pub
important factor and influence in the desigr
the Statue of Liberty.
Bartholdi never intended the Statue of L:
piece. Showered with praise from art critics
General Rapp was selected to be in the Salor
from the Colmar townspeople long before t
Parisian sculptor and in high demand for d:
-
ed the Egyptian figures "granite beings of
e benevolent and impassive gaze seems to
:fixed on the limitless future" (Blanchet 23).
i said, "When I discover a subject grand
)ject by building the tallest statue in the
tholdi quenches the desire to tackle big sub­
merestingly, Bartholdi did not start his artistic
les, but worked instead with small clay pieces,
:presemations of characters created by artist
luler in his native town of Colmar in the
holdi's first attempt at a life-size sculpture, of
t Colmar, caught the attention of sculptor
were placed on the Arch of Triumph in Paris.
noldi's style was the time he spent in the
loS a young man, Scheffer had lived in the
ie Lafayette, the Frenchman who did nearly as
to help America break their colonial ties to
painted a portrait of Lafayette that now hangs
~matives. As a place to experiment with paint
Ter's studio, Bartholdi completely ignored his
lture for himself in art.
: influences include illustrators, sculptors,
ollet-Ie-duc, the architect who restored Notre
nificant about Bartholdi's influences are the
d. Degas, Rodin, and Manet were all contem­
they were breaking new ground in subject mat­
llight, Bartholdi stuck to traditional notions
:arly modernists struggled for acceptance,
ssions. With his first commission coming at
doped a reputation as an excellent creator of
ue style developed from these experiences. He
1878: "I have a horror of all frippery in detail
~ffecrs of that art should be broad, massive and
ed by colossal Egyptian sculpture to create
)aces, Bartholdi avoided the preoccupation
ail that obsessed his contemporaries and creat­
Ilonument: simple, lacking excessive ornamen­
itand, yet deeply significant meaning.
.
mown piece, the Statue of Liberty, meets all of
Carden '00: Frederic Auguste Bartholdi and the Statue of Liberty
Carden
these criteria, yet that spirit ii reflected in his lesser known but no less sig­
nificant works. At 19, Bartholdi was commissioned by his hometown of
Colmar to sculpt a 12-foot-high statue of General Jean Rapp, a Colmar
native who had been an aide-de-camp to Napoleon. Working day and night
at his own studio in Paris, Bartholdi's General Rapp was accepted into the
Salon of 1855, yet was too tall to fit into the exhibition hall. The jury
solved this problem by displaying General Rapp outside the building on the
Champs Elysees, a move that undoubtedly both made Bartholdi the envy,
and raised the ire, of every exhibitor in the hall. But for Bartholdi, who
took his fateful trip to Egypt while General Rapp was on display, the success
of this first monument set him on a road that led to dozens of other public
statues, busts, sculptures on building facades and funerary monuments.
Bartholdi found the fame and fortune that he wanted, but his opportu­
nities to make Egyptian-like colossal sculptures were decidedly limited,
though this was certainly not for a lack of ideas. Moved by the excavation
of the Suez Canal in Egypt and supervised by Frenchman Ferdinand de
Lesseps in the late 1860s, Bartholdi drew up sketches for an immense
lighthouse to be located at the entrance of the canal. Bartholdi considered
the project to be of equal weight to the creation of the pyramids. Designed
to be a robed woman holding a torch aloft, Bartholdi thought that one of
his works would finally stand among the other massive Egyptian sculp­
tures. Broke and unable to afford this new wonder of the world, Egyptian
tuler Ismail Pasha let Bartholdi know that the lighthouse was not to be. As
Blanchet writes, the aborted Egyptian statues were not a blow to
Bartholdi's career because "[h]e was living in an era when governments
began to crave grand memorials to their growing industrial power. The
times were right for Bartholdi's old-fashioned ideas" (Blanchet 24). His
memorial marking the 1870 Franco-Prussian War, in which Bartholdi's
native Colmar and Alsace were gobbled up by Germany, The Lion of
Belfort (1880) showed that even though France had lost the war, they still
had their courage. This massive 24-meter-Iong and 16-meter-wide sculp­
ture, which also functioned as a tool of public propaganda, would be an
important factor and influence in the design of Bartholdi's last major work,
the Statue of Liberty.
Bartholdi never intended the Statue of Liberty to be his last significant
piece. Showered with praise from art critics from the age of 19 when his
General Rapp was selected to be in the Salon of 1855, and most certainly
from the Colmar townspeople long before that, Bartholdi was a popular
Parisian sculptor and in high demand for those who could afford him.
Published by Digital Commons @ IWU, 2000
3
25
Undergraduate Review, Vol. 12, Iss. 1 [2000], Art. 5
The Undergraduate Review
Using classical traditions, Barrholdi, as an official sculptor, recreated the
best of Greece and Rome in Paris and throughout France. While works by
other sculptors, Rodin's The Age ofBronze (1877) for example, were not as
well received as Barrholdi's Lion ofBelfOrt (1880), it is Rodin we remember
today, not Barrholdi. Perhaps because Barrholdi found so much success
and critical acclaim while still very young, he did not feel the need to
innovate. While Rodin tried to represent the internal structure of a figure
captured in a single instant, without much critical success, Bartholdi creat­
ed the classical public monuments that the people wanted. At the same
time, monuments and public statues, such as those created by Barrholdi,
take on a significance apart from their creator. The statue itself is remem­
bered, not necessarily the person who created it. 1
pearly dawn reveals the magnificent scene ol
36). Several sources indicate that as Barthol(
spotted Bedloe's Island in the middle of the
his original idea for a lighthouse on the Sue:
Barrholdi decided to create not just a monu
friendship like his later statue Washington a
work of profound moral worth" (Blanchet 3
summer, Bartholdi presented his idea for chi
variety of people, including President UIYSSl
America that was receptive to his idea for th
France, where an uncertain political situatio
nearly three years working out his idea in m
al could be made public.
The Statue ofLiberty
The idea of using "liberty" for this spew
within Bartholdi's artistic concerns, for it cc
the occupation of Colmar by Germany,2 wi
could all be embodied in one colossal statUf
meaning Bartholdi sought to convey, howe\
sonal in origin, as natural in theme, and as
(Trachtenberg 32). No other theme could b
friendship between France, whose "Liberte,
the inalienable American right to "life, libel
ness." To personifY the concept ofliberty, h
difficult. When President Lincoln prohibite
in 1863, and the Thirreenth Amendment Ie
Lincoln's proclamation, no longer could the
dom from actual bondage. Instead, liberty I
diffuse concept, involving liberties of many
dom of citizens from undue constraints on
(Trachtenberg 64). Liberty could no longer
had on a temple in the third century B.C. ;
rather she was now represented in pieces liL
painting Liberty Guiding the People (1830),
the aristocracy. Bartholdi's statue would ble
stamp his concept of liberty on the minds·
Standing tall in New York Harbor, as she did for the millions of immi­
grants who entered the United States of America at nearby Ellis Island,
Bartholdi's Statue of Liberty is a symbol of freedom and the opportunity
that exists in America to start life over. In the beginning, though, she was a
symbol of friendship between two nations. For purely selfish reasons,
France had aided the United States in their revolution to break free from
colonial ties to Great Britain. France was also one of the first allies of the
new United States of America when that nation was formed in 1776.
During the French Revolution, American patriots such as Thomas Paine
aided the French forces fighting for liberty, freedom, and democracy, and
America as a whole supported the First Republic of France. Two republics
later, following the unexpected loss of the Alsace and Lorraine regions to
Germany in the Franco-Prussian War of 1870, France turned to the
United States, which had just come out of a terrible war of its own, for
guidance in re-establishing a democratic government. With the Third
Republic firmly established by 1875, France decided to present a gift to
the United States, not only as a symbol of the long-standing Franco­
American friendship, but also as a commemoration of America's centennial
in 1876. The Franco-American Union saw to it that Bartholdi's Statue of
Liberty proposal would be that gift.
After Germany invaded his native Colmar, Bartholdi, like millions of
refugees escaping war in Europe before him, left France, taking an extend­
ed trip to the United States. Sailing into New York Harbor on June 21,
1871, Bartholdi wrote, "The image presented to the sight of a passenger
arriving in New York is splendid, when, after some days of voyaging, the
http://digitalcommons.iwu.edu/rev/vol12/iss1/5
_.
26
With the theme in place, Bartholdi beg;;
struction of the statue. Unlike the smaller:
had created, or even some of his larger piec
the Statue of Liberty by himself Instead, h
4
, ,;-----------------­
...
Carden '00: Frederic Auguste Bartholdi and the Statue of Liberty
Carden
:tholdi, as an official sculptor, recreated the
Paris and throughout France. While works by
,4ge ofBronze (1877) for example, were not as
ion ofBe/fort (1880), it is Rodin we remember
; because Bartholdi found so much success
I very young, he did not feel the need to
to represent the internal structure of a figure
without much critical success, Bartholdi creat­
nents that the people wanted. At the same
: statues, such as those created by Bartholdi,
rom their creator. The statue itself is remem­
'son who created it. l
pearly dawn reveals the magnificent scene of these great cities" (Blanchet
36). Several sources indicate-that as Bartholdi sailed into New York, he
spotted Bedloe's Island in the middle of the bay and immediately modified
his original idea for a lighthouse on the Suez into the Statue of Liberty.
Bartholdi decided to create not just a monument to Franco-American
friendship like his later statue Washington and Lafayette (1892) but also "a
work of profound moral worth" (Blanchet 36). On a tour of America that
summer, Bartholdi presented his idea for the Statue of Liberty to a wide
variety of people, including President Ulysses S. Grant. Finding an
America that was receptive to his idea for the statue, Bartholdi returned to
France, where an uncertain political situation forced Bartholdi to spend
nearly three years working out his idea in models before the statue propos­
al could be made public.
Harbor, as she did for the millions of immi­
:d States of America at nearby Ellis Island,
is a symbol of freedom and the opportunity
t life over. In the beginning, though, she was a
1 two nations. For purely selfish reasons,
States in their revolution to break free from
France was also one of the first allies of the
a when that nation was formed in 1776.
,n, American patriots such as Thomas Paine
ing for liberty, freedom, and democracy, and
d the First Republic of France. Two republics
~d loss of the Alsace and Lorraine regions to
,ian War of 1870, France turned to the
t come out of a terrible war of its own, for
democratic government. With the Third
'y 1875, France decided to present a gift to
s a symbol of the long-standing Franco­
>as a commemoration of America's centennial
an Union saw to it that Bartholdi's Statue of
at gift.
The idea of using "liberty" for this spectacular monument fit perfectly
within Bartholdi's artistic concerns, for it combined something personal,
the occupation of Colmar by Germany,2 with a universal theme, which
could all be embodied in one colossal statue. For the statue to achieve the
meaning Bartholdi sought to convey, however, it had "to appear as imper­
sonal in origin, as natural in theme, and as universal in appeal as possible"
(Trachtenberg 32). No other theme could be more natural to mark a
friendship between France, whose "Liberte, Egalite, and Fraternite" mimics
the inalienable American right to "life, liberty, and the pursuit of happi­
ness." To personifY the concept of liberty, however, was somewhat more
difficult. When President Lincoln prohibited slavery in the United States
in 1863, and the Thirteenth Amendment later added the force of law to
Lincoln's proclamation, no longer could the idea of liberty simply be free­
dom from actual bondage. Instead, liberty became "a much broader, more
diffuse concept, involving liberties of many kinds, centering on the free­
dom of citizens from undue constraints on their life by legitimate rulers"
(Trachtenberg 64). Liberty could no longer be represented as the Romans
had on a temple in the third century B.c. as hope for those in bondage;
rather she was now represented in pieces like Delacroix's revolutionary
painting Liberty Guiding the People (1830), leading the oppressed against
the aristocracy. Bartholdi's statue would blend these two images and forever
stamp his concept of liberty on the minds of all men.
s native Colmar, Bartholdi, like millions of
>pe before him, left France, taking an extend­
5ailing into New York Harbor on June 21,
image presented to the sight of a passenger
did, when, after some days of voyaging, the
With the theme in place, Bartholdi began to work on the actual con­
struction of the statue. Unlike the smaller sculptures or numerous busts he
had created, or even some of his larger pieces, Bartholdi could not work on
the Statue of Liberty by himself Instead, he had a workshop, with up to
Published by Digital Commons @ IWU, 2000
r--------------------.-..
5
27
'~,
Undergraduate
The Undergraduate
Review Review, Vol. 12, Iss. 1 [2000], Art. 5
-------------------------
50 craftsman employed at the same time. While Bartholdi was not salaried
as creator of the statue, the workmen had to be paid; like any major pro­
ject, funding was always a problem. Fortunately, the Franco-American
Commission came through for Bartholdi, first by collecting subscriptions,
and later with a lottery that raised money to pay the workmen and pur­
chase the 100 tons of copper and 125 tons of steel that would go into the
statue before it was completed. Because political favor was not on his side
until 1875, Bartholdi could only exhibit Liberty's arm and torch at the
1876 Philadelphia Exposition in honor of America's centennial. The
uncompleted sculpture, though, would get the American people as excited
about the statue as their French counterparts. Eventually, with some coax­
ing from Joseph Pulitzer's New York World, Americans would raise enough
funds for the statue's pedestal.
A stone or clay version of the Statue of Liberty, the material from which
Bartholdi's created his earlier works, would have been impossible to create
because of the tremendous weight. Bartholdi "thought well beyond the
image of what would be the world's tallest monument," and enlisted a
Parisian with a penchant for steel, Gustave Eiffel, to create an internal skele­
ton of steel for the statue, so that his sculpture could withstand the winds of
New York Harbor (ENR 46). While Eiffel would go on to create a tower of
his own three years after the Statue of Liberty left for America, "Eiffel antic­
ipated skyscraper construction when he designed the Statue of Liberty's sup­
porting frame" (ENR 46). Eiffel's steel skeleton, which Bartholdi covered
with 350 thin plates of copper, was a true innovation in sculpting. A new
vision of Liberty demanded a new approach to her creation.
Conversely, the reason the Statue of Liberty is the characteristic example
of Bartholdi's artistic concerns is precisely because the sculpture itself is not
artistically innovative. While the steel skeleton was a bold new idea,
Bartholdi did not go against artistic convention with his sculpture, as did
his painting and sculpting contemporaries, like Manet and Rodin. Rather,
Bartholdi embraced popular desires and gave the people what they wanted.
Partially because the Statue of Liberty was paid for by people's donations,
Bartholdi could not create a piece like Claes Oldenburg's Free Stamp
(1986) and expect to win overwhelming support from the citizens of two
nations. At the same time, Bartholdi did not want to create an Oldenburg.
Bartholdi's style was definitely classical, and the Statue of Liberty with her
torch aloft and broken chains at her feet clearly presents this style. What
image could be more classical than a woman wearing a robe? But it is
because Bartholdi was not innovative like Rodin, whose Burghers of Calais
http://digitalcommons.iwu.edu/rev/vol12/iss1/5
28
6
went on exhibition at the same time the Stat
given to the United States in a Paris ceremor
remembered today and Bartholdi is often litt
book on the statue. While Bartholdi's artistic
happy, as they were given exactly what they 1
good deal of money, it is not considered arti:
of Liberty, both because it celebrates the 200
France and the United States and because th
"liberty," that basic human desire to be able
oppression, remains more significant than it1
Today, 128 years after Bartholdi got his fi.
at New York Harbor, his Statue of Liberty sti
picked out-Bedloe's, now Liberty, Island. T
innumerable images for public consumption
War I used the symbol of Franco-American f
port for a stalemated battle in northeast Fran
Day, which conveniently has the statue destr
to stir the complacent Americans into action
statue is one of the most recognizable image!
ered artistically significant. The advent of the
places innovation and newness above the pre
ability. The whole concept behind "Outsider
Rousseau's compositions of the 1890s, relies
new types of images for the public and art y,.
not a modernisr; he is a classicist. While he I
niques in the Statue of Liberty---a steel skele
Liberty a modern role, leading with her torc
in a classical style. But as a classical sculptun
Bartholdi's Statue of Liberty has the potenti;
people. While Bartholdi has essentially bem
Statue of Liberty has come to mean so mud
bly no other sculpture can approach its sign
NOTES
lOne source (New York Public Library) alsc
Bartholdi does not hold a place amongst til.
because he was not collected. Apparently w
model and preliminary sketch for every pie­
Carden '00: Frederic Auguste Bartholdi and the Statue of Liberty
Ie same time. While Bartholdi was not salaried
vorkmen had to be paid; like any major pro­
·oblem. Fortunately, the Franco-American
Dr Bartholdi, first by collecting subscriptions,
raised money to pay the workmen and pur­
: and 125 tons of steel that would go into the
:d. Because political favor was not on his side
only exhibit Liberty's arm and torch at the
n in honor of America's centennial. The
Igh, would get the American people as excited
1ch counterparts. Eventually, with some coax­
=w York World, Americans would raise enough
1.
the Statue of Liberty, the material from which
works, would have been impossible to create
·eight. Banholdi "thought well beyond the
world's tallest monument," and enlisted a
steel, Gustave Eiffel, to create an internal skele­
that his sculpture could withstand the winds of
. While Eiffel would go on to create a tower of
Statue of Liberty left for America, "Eiffel antic­
n when he designed the Statue of Liberty's sup­
i£rel's steel skeleton, which Bartholdi covered
er, was a true innovation in sculpting. A new
1 new approach to her creation.
: Statue of Liberty is the characteristic example
1S is precisely because the sculpture itself is not
. the steel skeleton was a bold new idea,
artistic convention with his sculpture, as did
mtemporaries, like Manet and Rodin. Rather,
desires and gave the people what they wanted.
>fLiberty was paid for by people's donations,
piece like Claes Oldenburg's Free Stamp
erwhelming suppon from the citizens of two
anholdi did not want to create an Oldenburg.
ly classical, and the Statue of Liberty with her
s at her feet clearly presents this style. What
J than a woman wearing a robe? But it is
movative like Rodin, whose Burghers of Calais
Carden
went on exhibition at the same time the Statue of Liberty was officially
given to the United States in a Paris ceremony in 1884, that the Statue is
remembered today and Bartholdi is often little more than one chapter in a
book on the statue. While Bartholdi's artistic style made many people
happy, as they were given exactly what they wanted, and made Bartholdi a
good deal of money, it is not considered artistically significant. The Statue
of Liberty, both because it celebrates the 200-plus year friendship between
France and the United States and because the statue epitomizes the idea of
"liberty," that basic human desire to be able to live and breathe free from
oppression, remains more significant than its creator.
Today, 128 years after Bartholdi got his first glimpse of the United States
at New York Harbor, his Statue of Liberty still stands on the very island he
picked out-Bedloe's, now Liberty, Island. The statue has been used in
innumerable images for public consumption. War Bond posters of World
War I used the symbol of Franco-American friendship to stir American sup­
port for a stalemated battle in northeast France. Films like Independence
Day, which conveniently has the statue destroyed by alien invaders, are used
to stir the complacent Americans into action. Ironically, even though the
statue is one of the most recognizable images on Earth, it is rarely consid­
ered artistically significant. The advent of the modernist movement in art
places innovation and newness above the previously important concern of
ability. The whole concept behind "Outsider Art," for example Henry
Rousseau's compositions of the 1890s, relies on the untrained producing
new types of images for the public and art world to consume. Banholdi is
not a modernist; he is a classicist. While he uses modern construction tech­
niques in the Statue of Liberty---a steel skeleton, for example---and gives
Liberty a modern role, leading with her torch, she was created and sculpted
in a classical style. But as a classical sculpture of an undefinable concept,
Bartholdi's Statue of Liberty has the potential to mean many things to many
people. While Bartholdi has essentially been separated from his piece, the
Statue of Liberty has come to mean so much to so many people that proba­
bly no other sculpture can approach its significance.
NOTES
lOne source (New York Public Library) also indicated that one reason
Bartholdi does not hold a place amongst the great sculptors of all time is
because he was not collected. Apparently when Banholdi died nearly every
model and preliminary sketch for every piece he did was still in his studio.
Published by Digital Commons @ IWU, 2000
r-------------------..---""~.,"~
.-.
7
29
Undergraduate
The Undergraduate
Review Review, Vol. 12, Iss. 1 [2000], Art. 5
Germany occupied the formerly French regions of Alsace and Lorraine
until after World War I. The area had always been a mixture of French and
German natives, yet in losing the region to Germany in 1870, Alsace­
Lorraine became a rallying cry for France. In World War I, France actually
attempted to invade Germany through the rough, hilly terrain that makes
up the region, leaving the northern areas of France, particularly near
Belgium, open to invasion by Germany. Bartholdi always considered his
hometown an occupied territory and rarely returned there after 1870.
2
Lincoln's Courtships:
A Reflection of his Social (
By Erika Rozinek
BIBLIOGRAPHY
Blanchet, Christian. Statue ofLiberty: The First Hundred Years. Trans.
Bernard A. Weisberger. New York: American Heritage Publishing
Co., 1985. Trans. of Statue de fa Liberte. 1985.
Dillon, Wilton S. and Neil G. Kotler (eds.). The Statue ofLiberty Revisited
Washington D.C.: Smithsonian Institution, 1994.
Engineering News-Record (ENR). "1886 Liberry Rises." Engineering News­
Record 242.2 (I999): 46.
Galante, Pierre. "The Man Behind the Statue of Liberry." Good
Housekeeping203.1 (I 986): 101-106.
Gschaedler, Andre. Tr-ue Light on The Statue ofLiberty and its Creator.
Narberth, Penn.: Livingston Publishing Co., 1966.
Hall, Alice J. "Liberry Lifts Her Lamp Once More." National Geographic
July 1986: 2-23.
Hayden, Richard Seth and Thirry W. Despont. Restoring the Statue of
Liberty. New York: McGraw-Hill Book Company, 1986.
Mercer, Charles. Statue ofLiberty. Centennial ed. New York: G. P.
Putnam's Sons, 1985.
New York Public Library. Liberty: the French-American statue in art and his­
tory. New York: Harper & Row Publishers, 1986.
Price, Willadene. Bartholdi and the Statue ofLiberty. Chicago: Rand
McNally & Company, 1959.
Lincoln first came to lllinois in 1830 whe
be focusing on his involvement with women
while de-emphasizing those fragments and r­
due to their lack of substantiation and also t
1831, Lincoln had left his father in Coles Co
dence in New Salem. It was here that Lincol
a bashful boy who avoided contact with girl:
various ways to several different women.
The testimony of Lincoln's friends and re
indicate that Lincoln showed little interest il
mother remarked to William Herndon that
girls as he seemed to me" (S. Lincoln 108). _
that Lincoln "did not go much with the girl
Russell, John. "A Face that really launched 1,000 ships-and many more."
Smithsonian 15.4 (I 984}: 47-55.
Trachtenberg, Marvin. The Statue ofLiberty. New York: Viking Press, 1976.
http://digitalcommons.iwu.edu/rev/vol12/iss1/5
n the myth and memory of American cu
remembered as a ladies' man or a man w
ships with women. Biographers dubiousl
Ann Rutledge, make light of his involvemen
interpret his courtship and marriage to Mat}
seems to be that Lincoln was too ambitious,
too much of a "man's man" to trouble with ';
in Illinois. However, much evidence exists to
sought relationships with numerous women
Furthermore, his experience with each of th~
development socially, even as he was rising p
Starting out as a young man rumored to hav
mately in New Salem, Lincoln emerged as t~
Springfield's most educated, attractive, and ;)
I
Austen, Ian. "The Lady of Liberry." Maclean's 7 July 1986: 16.
8
30
,
·~~"""""""'''
''
'''l,....
''ft.........
_