It's hidden in plain sight on the Mall side of the Hirshhorn, and it provides quiet sanctuary—and welcome shade—on molten, touristy days like today. I'm not really sure what started making this sculpture—Rodin's epic "Burghers of Calais"—so particularly meaningful to me. It’s most likely the piece that finally unlocked the aesthetic, artistic and historical secrets of the broader Modernist movement for me when I took a college art-history class: its raw, muscular composition ... its marriage of Realism (which sought to represent human figures as they are instead of idealizing them) and the last dying gasps of Romanticism (the very emotion-wrought idealization that the Realists were striving to overcome) ... its accessibility from any educational and even physical perspective ... it’s just so many things on so many levels, including my newfound levels of understanding the movement. I should state that this dual Realism/Romanticism classification is solely my interpretation of the genres and the transition between them, but you cannot deny that the oversized figures in this sculpture are muscular and handsome and to a large degree idealized while still being rough-hewn, misshapen and out of proportion.
The figures are six men being led to their death to liberate the French town of Calais in the Hundred Years' War, which adds layers of fascinating historical content onto the reasons I love the work. I find it all at once intimate and epic, unfinished and uneditable, and abstract and representational, the latter of which has always been my preference in art and especially sculpture. So I make a pilgrimage to see it—I even sit in the same shady spot to contemplate it—every time I come to Rehoboth and DC. It's always a beautiful way to rest and rejuvenate and think and remember and see these decades-old friends in relative peace before my vacation ends and I head home.
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