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154:. His father was a blacksmith and locksmith, who taught Rude the trade of forging iron, so he could take over the family business. In 1799, at the age of fifteen, despite his father's resistance, he began taking courses at the School of Fine Arts in Dijon, located within the Palace of the Dukes of Burgundy, while continuing to work in the family business. His teacher was the deputy curator of the Dijon museum, Louis Fremiet. Rude learned both drawing and sculpture, using classical models. Fremiet helped protect Rude from being drafted into Napoleon's army, and, in 1808, sent him to Paris to continue his studies.
208:. Unfortunately for Rude, the academy in Rome was having financial difficulties, and the departure of the winners was postponed. He was preparing again to depart for Rome in early 1815 when Napoleon returned from his exile in Elba and the war began again. After Napoleon's final defeat at Waterloo and the second restoration of the French monarchy, Rude decided to go into self-imposed exile in Brussels. At the request of his teacher from Dijon, Louis Fremiet, he agreed to take with him to Brussels and look after Fremiet's mother-in-law, aunt, and two daughters, including Sophie, who in 1821 became Rude's wife.
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592:, one of Napoleon's most famous marshals, who had been shot for treason by the restored royalist government which replaced Napoleon. The earliest wax model made by Rude depicted Ney at his execution, as he opened his coat and urged the firing squad to "aim for the heart." This pose was judged as too politically provocative, so Rude made a different version, depicting Ney, sword upraised, ordering his soldiers forward. This work, like his earlier
398:, who had political opinions closer to those of Rude, in charge of the project, with Rude to assist him. Rude was given the commission to make portions of the frieze depicting the departure of volunteers from Paris in 1792 to fight against the anti-revolutionary armies, as well as a frieze commemorating the triumphal returns to France of Napoleon's expeditions to Egypt and Italy.
245:. The work required representing dozens of figures, both in action scenes and scenes of pathos and drama. Rude based his work on the models of classical sculpture, but gave them exceptional naturalism and dynamism. The original work was destroyed by a fire in the lodge in 1879, but plaster copies made from the original moldings and illustrations survive.
431:, which had been purchased by the French government at the 1831 Salon, and shown briefly at the Luxembourg Museum until 1833. The fierce shouting expression had been used earlier by Rude as a student at the academy, in the competition for best facial expressions, which he won in 1812. The soldiers wore the costumes of warriors of ancient Gaul. The
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Emperor, eyes closed, wearing a crown of laurel, under a military cloak, atop a rocky pedestal. An eagle, his symbol, is chained to the stone, and is crying out to awaken him, while the chains that held the
Emperor have been broken. For years, elderly veterans of Napoleon's army made pilgrimages to Fixin to honor Rude's statue.
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in
Burgundy. At the time that the statue was conceived, the political climate in Paris was still hostile to Napoleon, and there were no monuments to him in the city. Therefore, Noisot and Rude planned for the sculpture of the Emperor to be placed on Noisot's estate in Burgundy. The statue shows the
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had begun to work on it again, to make it a monument to celebrate the defeat of
Spanish revolutionaries by a French royal expeditionary force. When Rude first arrived in Paris in 1828, based on his experience with the friezes in Tervuren, he became one of the sculptors working on the friezes,
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619:. The figure of Cavaignac was depicted with great realism; the body was depicted under a plain sheet, and body was emaciated from his imprisonment by royal government. The sepulcher served a model for those of later opponents of the monarchy.
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to honor the heroes of French history, and, as he declared, "all the glories of France." Rude was commissioned in 1836, before the opening of the museum, to make a statue of a German-born French military hero from the 18th century, the
394:, the new Minister of the Interior, who had taken office in 1832. Thiers was an art collector, and was familiar with Rude's work at the 1828 salon. The royalist architect of the Arch was replaced, and Thiers put a new architect,
581:, portrayed with her hand up, listing to the mystical voice calling her to fight for the liberty of France against the English invaders. Her hair has already been cut to prepare her for battle, and her armor is by her side.
220:. Rude's wife, a painter, became David's pupil and then his copyist. In Brussels he made a bust of David, neoclassical in style, but realistically portraying the deformation of David's mouth caused by a nervous malady.
990:, inaugurated in 1947, is devoted to plaster casts of his works that were acquired by the city of Dijon, between 1887 and 1910; it is housed in the transept of the 11th-century church of Saint-Etienne in rue Vaillant.
569:. This statue followed the traditions of heroic sculpture, presenting him a triumphal pose, holding his marshal's baton. He also had patrons in the nobility; in 1843, he created a statue in silver of the adolescent
611:, one of the leaders of the republican opposition to the monarchy, who had died in 1845. The sepulcher designed by Rude recalled those of the Middle Ages made for the Kings of France, particularly the tomb of
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Rude received a medal for his lifetime work at the Paris
International Exposition of 1855. Shortly afterwards, on 3 November 1855, Rude died at his Paris residence at rue d'Enfer 3. He was buried at
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629:(1845). The statue was made for Claude Noisot, who a former captain in Napoleon's imperial guard and an officer of the Legion of Honor, who had accompanied Napoleon into exile on Elba, and at the
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596:, broke with academic tradition by showing Ney with his mouth open, shouting at his soldiers to follow. This work was completed in 1853, after the fall of the Second Republic and the rise of
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encouraged patriotic monuments, to bridge the deep political divide between monarchists and republicans. In 1832, Louis-Philippe commissioned Rude to make a statue of the Roman statesman
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Rude decided to move permanently to Paris in 1828. He found a client in the French state, which commissioned him, along with several others sculptors, to work on a frieze for the
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completed in 1836, became Rude's most famous work. It depicted the departure of a French revolutionary army to fight against a coalition of royalist forces at the
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257:. The work was shown only a short time before the Salon closed, and it attracted little attention, but it illustrated the evolution of his style. The statue,
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Toward the end of his life, Rude made several notable religious sculptures, including the sculptural decoration of a pulpit for the Church of St. Etienne in
786:(1852). Late in his life, he was commissioned by the Museum of Fine Arts of Dijon to make a work on a subject of his choosing; he chose a mythological work,
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to celebrate the victories of
Napoleon. In 1809 he competed in the academy's prestigious annual competition, and took second place with the purely classical
423:(Genius of the War), a woman with a sword shouting to urge others on to battle. The pose of this figure resembled the central figure of the painting by
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840:, was one of his last works, commissioned by the Dijon Museum of Fine Arts. He died before it was completed. It was finished by his pupil and stepson
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633:. He was unable to pursue a military career after Napoleon's downfall, but with the help of a wealthy wife purchased vineyards and an estate at
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Brussels did not offer enough opportunities or challenges, and in 1827 Rude returned to Paris with Sophie and entered a work in the
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Rude lived in
Brussels from 1817 until 1826. where he found many other self-imposed exiles, the most famous of whom was the painter
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231:. The work was a frieze around the rotunda of the Hall of Honor. Among the other artists selected to work on the frieze was
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362:. It had only reached a height of nine meters when Napoleon was overthrown, and it was abandoned for years. During the
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immediately became famous for its vitality and energy, and as a celebration of the French revolutionary spirit.
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The critical and popular acclaim for the frieze on the Arc de
Triomphe led to more commissions for Rude.
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a fusion of classicism and romanticism, vividly expressing emotion. This work won a cross of the
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In
Brussels he received his first major commission; he was asked by the Belgian royal architect
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in Paris. (1835–36). His work often expressed patriotic themes, as well as the transition from
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for the entry portico and a series of eight reliefs for the rotunda, illustrating the life of
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798:(1852). After his death, the two unfinished works were completed by his student and nephew,
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to design decorative relief sculptures for the hunting lodge of the
Belgian crown prince at
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on a very different theme. Rude's work at the Salon of 1833 had come to the attention of
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261:(now in the Louvre) was neoclassical in theme, but showed a striking energy and realism.
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192:. In 1812, he won two competitions, one for the most expressive bust, with a work called
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François Rude was born 4 January 1784 on rue Petite-Poissonnerie (rue François Rude) in
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on the throne. The new government decided to complete the construction of the
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in 1792. Sophie
Fremiet, Rude's wife, posed for the principal figure, the
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in American public collections, on the French Sculpture Census website
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French language site listing works by Rude, with access to large images
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1305:(it may be necessary to close an advertising banner to view this page)
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An unusual work in his period of patriotic sculptures was his tomb of
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Louis-Philippe was driven into exile in 1848, and the new and brief
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Louvre Database (French language) – Works by Rude (and some others)
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had been begun in 1806 by Napoleon to celebrate his victory at the
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came to power. It commissioned Rude to make an heroic statue of
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Le Depart des Volontaires de 1792, in plaster, 1833, The Louvre
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took up the same theme, with a similar shouting figure, in his
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finished in 1855, not long before his death, and now in the
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The adolescent Louis XIII, 1843, Museum of Fine Arts, Lyon
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depicting the exploits of the royalist army in Spain.
200:. The latter work won the Grand Prize of the academy,
1119:
1904, pp. 100–12, noted in Symmons 1973:595, note 25.
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Petit Robert Dictionnaire Universel des Noms Propres
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1117:François Rude, sculpteur: ses oeuvres et son temps
622:Another notable example of his patriotic work was
270:A young Neopolitan fisherman playing with tortoise
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305:Mercury Fastening his Sandals After Killing Argos
259:Mercury fastening his sandals after slaying Argus
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1254:"Musée Rude : Expositions & Arts Dijon"
118:(4 January 1784 – 3 November 1855) was a French
970:in Paris. Another important pupil of Rude was
378:of 1830 overthrew the royal government of the
1233:Rude et la célébration des Gloires Nationales
1212:Rude et la célébration des Gloires Nationales
1191:Rude et la célébration des Gloires Nationales
948:Grave on Montparnasse Cemetery, sculpture by
339:Neapolitan Fisher Boy Playing with a Tortoise
844:, and was shown in the Paris Salon of 1857.
600:. It is found in the square in front of the
536:François Rude working on the Arc de Triomphe
190:Marius meditating upon the ruins of Carthage
249:Return to Paris – classicism to romanticism
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918:The pulpit of the Church of St. Etienne,
778:Late works by Rude included a Calvary in
198:Aristotle deploring the loss of his bees.
715:, 1847, facade of the Denon wing of the
859:have notable collections of his works.
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157:Rude began his studies at the Imperial
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1288:More views of the Neapolitan Fisherboy
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820:. His major religious works include a
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697:Joan of Arc listening to her voices
407:Departure of the Volunteers of 1792
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790:(1852). Other late works included
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936:, 1857, Dijon Museum of Fine Arts
874:, 1851, Dijon Museum of Fine Arts
766:Éléonore-Louis Godefroi Cavaignac
747:Napoleon Awakening to Immortality
672:Bust of Jacques-Louis David, 1838
609:Éléonore-Louis Godefroi Cavaignac
548:Patriotic and historical statuary
1370:19th-century French male artists
1365:Burials at Montparnasse Cemetery
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1360:Knights of the Legion of Honour
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1239:, Edited by Laurence Caillaud,
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1197:, Edited by Laurence Caillaud,
1173:, Edited by Laurence Caillaud,
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1064:, Edited by Laurence Caillaud,
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1026:List of works by François Rude
433:Depart des Volontaires de 1792
403:Départ des volontaires de 1792
349:Départ des Volontaires de 1792
161:in Paris in August 1808 under
1:
1345:19th-century French sculptors
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888:Hebe and the Eagle of Jupiter
872:Hebe and the Eagle of Jupiter
802:, and they were shown at the
788:Hebe and the Eagle of Jupiter
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1293:Views of the Arc de Triomphe
934:Love, dominator of the world
838:Love, dominator of the world
194:attention combined with fear
7:
1241:Dossier de l'Art Hors Série
1220:Dossier de l'Art Hors Série
1199:Dossier de l'Art Hors Série
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1066:Dossier de l'Art Hors Série
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594:Departure of the Volunteers
505:, a painter, posed for the
455:Model of second version of
292:1821–23, Rude Museum, Dijon
124:Departure of the Volunteers
16:French sculptor (1784–1855)
10:
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1355:Prix de Rome for sculpture
1298:Art on-line: François Rude
1000:Jeancolas, Claude (1992).
429:Liberty leading the People
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849:Dijon Museum of Fine Arts
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1167:Rude à L'Arc de Triomphe
1146:Rude à L'Arc de Triomphe
828:, and a smaller bust of
627:Awakening to Immortality
347:The Arc de Triomphe and
1237:François et Sophie Rude
1231:Rouge-Decos, Isabelle,
1216:François et Sophie Rude
1210:Rouge-Decos, Isabelle,
1195:François et Sophie Rude
1189:Rouge-Decos, Isabelle,
1165:Rouge-Decos, Isabelle,
1144:Rouge-Decos, Isabelle,
1104:Francois et Sophie Rude
964:Charles-Auguste Lebourg
904:Church of the Madeleine
826:Church of the Madeleine
711:Statue of the sculptor
653:, commissioned by King
225:Charles Vander Straeten
1171:François et Sophe Rude
1150:François et Sophe Rude
1129:François et Sophe Rude
1087:François et Sophe Rude
1062:François et Sophe Rude
972:Jean-Baptiste Carpeaux
966:became famous for the
782:for the high altar of
586:Second French Republic
472:Départ des Volontaires
206:French Academy in Rome
1350:French male sculptors
811:Montparnasse Cemetery
749:, 1846, Parc Noisot,
540:Joseph-Noël Sylvestre
396:Guillaume-Abel Blouet
341:, 1831–33, The Louvre
288:A plaster molding of
122:, best known for the
1260:on 28 September 2007
1243:, (2012), pp. 42–44.
1222:, (2012), pp. 38–39.
1201:, (2012), pp. 34–40.
1177:, (2012), pp. 26–30.
1135:, (2012), pp. 16–19.
1093:, (2012), pp. 22–23.
1068:, (2012), Number 19.
774:Late works and death
562:Palace of Versailles
360:battle of Austerlitz
290:The Hunt of Meleager
238:The Hunt of Meleager
159:Ecole des Beaux-Arts
1037:Notes and citations
1002:Sculpture Française
902:Baptism of Christ,
830:Christ on the Cross
730:Statue of Maréchal
713:Jean-Antoine Houdon
651:Marcus Porcius Cato
554:King Louis-Philippe
368:Charles X of France
364:Bourbon Restoration
218:Jacques-Louis David
178:Antoine-Louis Barye
173:and the celebrated
1340:Artists from Dijon
784:St Vincent de Paul
699:, 1845, The Louvre
631:Battle of Waterloo
613:Henry II of France
522:Génie de la Guerre
507:Génie de la Guerre
488:Génie de la Guerre
421:Génie de la Guerre
99:Sculpture, drawing
968:Wallace fountains
822:Baptism of Christ
602:Paris Observatory
409:), also known as
212:Exile in Brussels
163:Pierre Cartellier
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25:François Rude
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1262:. Retrieved
1258:the original
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615:sculpted by
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598:Napoleon III
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486:Head of the
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74:(1855-11-03)
37:Portrait by
18:
1335:1855 deaths
1330:1784 births
824:now in the
804:Paris Salon
579:Joan of Arc
255:Paris Salon
182:Edme Gaulle
140:romanticism
88:Nationality
39:Sophie Rude
1324:Categories
1102:Caillaud,
1052:, p. 1569.
984:Musée Rude
978:Musée Rude
950:Paul Cabet
886:Detail of
842:Paul Cabet
813:in Paris.
800:Paul Cabet
732:Michel Ney
590:Michel Ney
573:, for the
571:Louis XIII
441:La Defense
324:La Pérouse
146:Early life
53:1784-01-04
806:of 1857.
425:Delacroix
380:Charles X
175:animalist
1020:See also
855:and the
764:Tomb of
625:Napoleon
443:(1879).
382:and put
322:Bust of
243:Achilles
229:Tervuren
120:sculptor
82:, France
63:, France
906:, Paris
130:on the
1264:31 May
1008:
958:Pupils
952:, 1856
890:, 1851
857:Louvre
851:, the
834:Louvre
780:bronze
768:, 1847
734:, 1853
717:Louvre
659:Louvre
542:, 1893
474:, 1836
326:, 1828
309:Louvre
104:Awards
91:French
41:(1842)
1235:, in
1214:, in
1193:, in
1169:, in
1148:, in
988:Dijon
920:Lille
818:Lille
751:Fixin
635:Fixin
152:Dijon
80:Paris
61:Dijon
1266:2007
1006:ISBN
982:The
847:The
470:The
401:The
374:The
354:The
69:Died
47:Born
986:in
138:to
1326::
1182:^
1073:^
604:.
427:,
366:,
169:,
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1268:.
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405:(
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
