- Clodion's Beginnings
1738
Claude Michel, called Clodion, is born on December 20th in Nancy, France. He is the tenth and last child of Thomas Michel and Anne Adam. Anne Adam is the sister of three well-known sculptors—Lambert-Sigisbert Adam (1700-1759), François-Gaspard Adam (1710-1761), and Nicolas-Sébastien Adam (1705-1778).
1755
Clodion moves to Paris and starts working in the Parisian studio of his uncle Lambert-Sigisbert Adam.
1756
On June 26th, Clodion wins first prize in a tri-monthly judging of students studying models at the Royal Academy of Painting and Sculpture, foreshadowing his future success.
1757
Clodion is deemed admissible to compete for the Royal Academy’s Prix de Rome.
1759
On May 12th, Clodion’s uncle Lambert-Sigisbert Adam dies.
Following his uncle’s death, Clodion enrolls in the Royal Academy under the tutelage of the sculptor Jean-Baptiste Pigalle (1714-1785).
In September, Clodion wins the Prix de Rome in the sculpture category for a bas-relief of the assigned subject, and becomes a student of the École royale des élèves protégés, enabling him to study classical history and literature.
1762
In August, as part of the reward for winning the Prix de Rome, Clodion is authorized by the Royal Academy to travel to Rome and study at the French Academy there for three years.
In September, Clodion quits the École royale des élèves protégés and heads for Rome.
Clodion arrives in Rome the 25th of December.
- 1762-1771: Residence in Rome
1771
Clodion returns to Paris in March, long past his allotted three years in Rome, at the order of the Directeur des Bâtiments du Roi, the Marquis de Marigny. He sets up his studio at Place Louis XV.
Circa 1772
Clodion receives a commission to create multiple sculptures for the Rouen Cathedral altar, including Christ on the Cross, a gilt lead figure, as well as a large-scale marble statue of Sainte Cécile.
1773
For his first Salon, Clodion shows a plaster model of a sculpture of Jupiter intended for his official acceptance into the Royal Academy. He never executes the finished marble, and as a result his rank in the Royal Academy remains that of agréé. He nevertheless receives several significant commissions from the French state during his career.
Clodion travels to Carrara, Italy, at the end of the year to choose the blocks of marble for the Rouen commission. He then stays in Rome for a few months in 1774, before he is recalled to Carrara.
1774
By August the artist returns to Paris from Italy.
1777
Clodion completes the Rouen program by September.
1778
The Columbia sculpture Satyr and Two Nymphs is signed with the date of 1778, though this is likely a purposefully misleading date.
1779
The Columbia sculpture Nymph and Two Satyrs is signed with the date of 1779, though this is likely a purposefully misleading date
Clodion shows his preliminary model for the statue of the famous French political philosopher Montesquieu at the Salon of 1779, part of the series called the Great Men of France, commissioned by the Comte d’Angiviller on behalf of the Bâtiments du Roi. He receives criticism for it.
1783
After adjustments to the original design, the finished marble sculpture of Montesquieu is shown at the Salon of 1783 to great acclaim.
1788
Clodion continues to receive commissions from private collectors, including the French nobility and amateurs, for their Parisian residences. In addition to statues, vases, and bas-reliefs, Clodion occasionally works on the decorative parts of objects such as clocks, a notable example of which is The Dance of Time: Three Nymphs Supporting a Clock in the Frick Collection.
- Return to Paris
1771
Clodion returns to Paris in March, long past his allotted three years in Rome, at the order of the Directeur des Bâtiments du Roi, the Marquis de Marigny. He sets up his studio at Place Louis XV.
Circa 1772
Clodion receives a commission to create multiple sculptures for the Rouen Cathedral altar, including Christ on the Cross, a gilt lead figure, as well as a large-scale marble statue of Sainte Cécile.
1773
For his first Salon, Clodion shows a plaster model of a sculpture of Jupiter intended for his official acceptance into the Royal Academy. He never executes the finished marble, and as a result his rank in the Royal Academy remains that of agréé. He nevertheless receives several significant commissions from the French state during his career.
Clodion travels to Carrara, Italy, at the end of the year to choose the blocks of marble for the Rouen commission. He then stays in Rome for a few months in 1774, before he is recalled to Carrara.
1774
By August the artist returns to Paris from Italy.
1777
Clodion completes the Rouen program by September.
1778
The Columbia sculpture Satyr and Two Nymphs is signed with the date of 1778, though this is likely a purposefully misleading date.
1779
The Columbia sculpture Nymph and Two Satyrs is signed with the date of 1779, though this is likely a purposefully misleading date
Clodion shows his preliminary model for the statue of the famous French political philosopher Montesquieu at the Salon of 1779, part of the series called the Great Men of France, commissioned by the Comte d’Angiviller on behalf of the Bâtiments du Roi. He receives criticism for it.
1783
After adjustments to the original design, the finished marble sculpture of Montesquieu is shown at the Salon of 1783 to great acclaim.
1788
Clodion continues to receive commissions from private collectors, including the French nobility and amateurs, for their Parisian residences. In addition to statues, vases, and bas-reliefs, Clodion occasionally works on the decorative parts of objects such as clocks, a notable example of which is The Dance of Time: Three Nymphs Supporting a Clock in the Frick Collection.
- Later Years, 1790s-1814 (The Revolution and Napoleonic Era)
1789
The Bastille is stormed in Paris on July 14th.
Clodion was a Royalist and had received many commissions from members of the aristocracy. The French Revolution significantly affected his artistic production, though he continued to reside in Paris.
1794
Some sources claim that Clodion returns to his native Nancy, where he supposedly works on the decoration of architectural façades and ceramics.
1795
Bacchante Supported by Bacchus and a Faun, a multi-figure composition, shows similarities with the Columbia sculptures. Unlike the terracottas from his Roman years, which usually consist of a single figure, the 1790s terracotta statuettes often represent a group of figures. As in earlier years, Clodion continues to represent Bacchic subject matters.
1797
Clodion has returned to Paris and continues his production of terracotta statuettes.
1798
Satyr Lifting a Tambourine-Playing Bacchante bears stylistic similarities to Bernini’s Apollo and Daphne, from whom Clodion may have derived some stylistic influence in his own work. The dance-like movement also recalls the Columbia sculptures.
1799
Zephyrus and Flora, in the Frick Collection, is a particularly light and airy creation, more so than the somewhat heavier Bacchante Supported by Bacchus and a Faun from 1795.
1801
Hoping for a state commission, Clodion exhibits a life-size plaster, Scène du Déluge, now lost, at the Salon of 1801. While he won a first-class medal for the work and a sum of money, a commission never materialized. A terracotta model for the plaster is held by the Museum of Fine Arts in Boston.
The demand for Clodion’s small terracotta statuettes wanes in his last years, but he does receive some notable State commissions.
1804
Napoleon is crowned Emperor on May 28th.
1814
On March 28th, Clodion dies in Paris of pneumonia.
Napoleon abdicates on April 6th.
- Clodion’s Legacy, Clodion Mania, and the Columbia Sculptures
Early to mid-nineteenth century
During his final years and until roughly the second half of the nineteenth century, Clodion’s popularity and the demand for his works among collectors diminishes.
Second half of nineteenth century
The Columbia sculptures, Satyr and Two Nymphs and Nymph and Two Satyrs, likely date to the second half of the nineteenth century. As mentioned in the "Return to Paris" section of this timeline, the inscibed dates of 1778 and 1779, respectively, are probably deliberately misleading dates.
Waddesdon Manor holds a pair of "Clodion" scultpures in their collection that are nearly identical to Columbia's sculptures: Two Satyrs and a Nymph and Two Nymphs and a Satyr. Waddesdon lists them as by Clodion and dates them to circa 1784, but following the line of research presented in this exhibition, that is an unlikely date and attribution. Like the Columbia pair, they probably date to the second half of the nineteenth century.
The Louvre Museum owns a version of Nymph and Two Satyrs, identifed as in the manner of Clodion. The curator Guilhem Scherf identifies the Louvre sculpture as a probable work of the Graux-Marly manufactory, active in the second half of the nineteenth century, which likely also produced bronze versions. Scientific tests completed by the Louvre on their sculpture confirm it as a nineteenth-century creation.
Circa 1840
A terracotta sculpture formerly attributed to Clodion in the Frick Collection, but now associated with Samson Manufactory, Satyr with Two Bacchantes, is visually similar to the Columbia sculptures in the heavier composition and the provocative spirit. Its overtly licentious depiction is one aspect that distinguishes it from authentic Clodion works.
Circa 1860
Several bronze versions of the Columbia sculptures exist. For example, a bronze version of Satyr and Two Nymphs is cast by (Guillaume) Denière Foundry circa 1860.
Bronze versions of Nymph and Two Satyrs exist as well.
1870s
The beginning of the Third Republic signals a surge in the collecting of Clodion's art, which continues until World War I. Several sculpture workshops capitalize on this “Clodion mania” and produce forgeries—sometimes copying designs of Clodion or creating outright inventions of their own in the purported style of Clodion.
1870-1880
During this decade the production of Clodion forgeries reaches an apex, led by the Graux-Marly and Denière manufactories.
1880
Graux-Marly is known as "a 'specialist' in reproductions after Clodion.” [8]
"This same year of 1880, Denière is implicated in a forgery affair." [9]
1909
The Columbia sculptures, Nymph and Two Satyrs and Satyr and Two Nymphs, reportedly purchased in Paris at an unknown date, are given as a wedding gift from George Blumenthal (1858-1941) to Irma H. (Asiel) and Lewis Bloomingdale, who marry the same year.
1914
The era of “Clodion mania” comes to an end.
World War I begins.
1934
On January 9th, George Blumenthal is elected President of the Metropolitan Museum of Art.
1976
Irma H. Bloomingdale (Mrs. Lewis Bloomingdale; 1888-1989) makes a gift to Columbia: Satyr and Two Nymphs and Nymph and Two Satyrs enter the University's art collection.
[8] “…Graux-Marly était présenté en 1880 comme 'spécialiste' en reproductions d’après Clodion.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 375.
[9] “ A cette date de 1880, Denière est impliqué dans une affaire de faux.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 375.
- Sales of Clodion sculptures possibly related to the Columbia sculptures
The following entries from late eighteenth and early nineteenth-century sales of Clodion sculptures (and one "after Clodion") bear similarities in description to the Columbia pair, Satyr and Two Nymphs and Nymph and Two Satyrs. It cannot be excluded that the Columbia sculptures are copies of original Clodion sculptures, now lost, sold at one of the sales below or another unknown sale, though they are more likely nineteenth-century inventions.
1788
" 'A group of three figures: two Bacchantes and a Satyr. Height of 22 pouces [approximately 22 inches]. It is under a cage of glass. An outstanding example of this type.' Ch[ariot], 28 January 1788, n°193.”[1]
1793
“ 'Two other beautiful groups, subjects of satyrs and bacchantes.' Dumont, 4 February 1793, n°204.”[2]1798
The following entry description is particularly similar to the Columbia sculptures:
“ 'Two very beautiful groups in terracotta, subject of Bacchantes and Satyrs, by Claudion.' [duchess of Bourbon?], Palace of the Elysée, 13 August 1798, n°75.”[3]
“ 'Two Groups in terracotta, Bacchante subject, by [Clodion]' [Ducchess of Bourbon?], Palace of the Élysée, 13 August 1798, n° 77.”[4]
“ 'Another (group) in terracotta, Bacchantes subject, of the same type' (see “Bacchante”). [Duchess of Bourbon?], Palace of the Elysée, 13 August 1798, n°78.”[5]
1802
“ 'Two groups, subjects of Fauns [satyrs] and Bacchantes, by Claudion.' [Montaleau?], 19 juillet 1802, n° 299. Acq. 392 F.”[6]
1814
“ 'Two groups, subjects of Satyr and Bacchante, after Clodion, by Marin.' Lebrun, 23 May 1814, n° 351.” [7][1] “ 'Un groupe de trois figures: deux Bacchantes et un Satyre. Hauteur 22 pouces. Il est sous une cage de verre. Morceau très capital en ce genre.' Ch[ariot], 28 janvier 1788, n°193.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 426.
[2] “ 'Deux autres beaux groupes, sujets de satyres et bac[c]hantes.' Dumont, 4 février 1793, n°204.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 441.
[3] “ 'Deux très-beaux Groupes en terre cuite, sujet de Bacchantes et Satyres, par Claudion.' [duchesse de Bourbon?], palais de l’Elysée, 13 août 1798, n°75.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 426.
[4] “ 'Deux Groupes en terre cuite, sujet de Bacchante, par le même.' [duchesse de Bourbon?], palais de l’Elysée, 13 août 1798, n°77.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 424.
[5] “ 'Un autre (groupe) en terre cuite, sujet de Bacchantes, tenant au même genre' (voir “Bacchante”). [duchesse de Bourbon?], palais de l’Elysée, 13 août 1798, n°78.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 426.
[6] “ 'Deux groupes, sujets de Faunes et Bacchantes, par Claudion.' [Montaleau?], 19 juillet 1802, n°299. Acq. 392 F.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 441.
[7] “ 'Deux groupes, sujets de Satyre et Bacchante, d’après Clodion, par Marin.' Lebrun, 23 mai 1814, n° 351.” Translation my own. In Anne Poulet and Guilhem Scherf, Clodion, 1738-1814 (Paris: Réunion des Musées Nationaux, 1992), 439.
