Editing Antoine Bourdelle (section)

== Career ==
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In 1885 he participated in the annual Salon of artists and won an honorable mention for his work, ''The First Victory of Hannibal''. He rented a studio at 16 Impasse du Main, next to the painters [[Eugène Carrière]] and [[Jean-Paul Laurens]]. He worked in this studio until his death.<ref name="Lemoine 2004, pg. 8">Lemoine (2004), p. 8</ref>
[[File:6MA-B.jpg|thumb|''Leda and the Swan'', Musée d'Art classique de Mougins]]
In 1887, he quit the studio of Falguièr, and, moved by the music of [[Ludwig van Beethoven|Beethoven]], he made his first of what would eventually be some forty sculptures of the composer. In September 1893 Bourdelle joined the studio of [[Auguste Rodin]].  His collaboration with Rodin lasted fifteen years.  In 1895, he received his first official commission, a war monument for the city of [[Montauban]].  His proposed plans, different from traditional monuments, created a scandal.  Rodin intervened on his behalf, and the monument was finally erected in 1902.<ref name="Lemoine 2004, pg. 8"/>

In 1900, Bourdelle demonstrated his independence from Rodin's style with a bust of Apollo. In the same year,  Bourdelle, Rodin and the sculptor Desbois opened a free school of sculpture, the Institut Rodin-Debois-Bourdelle. One of the students was [[Henri Matisse]], who later produced some remarkable sculpture, but the school did not last long.<ref name="Lemoine 2004, pg. 8"/>

[[File:Bourdelle et Grace Christie (1).jpg|thumb|right|200px|Bourdelle in his studio sketching Grace Christie]]
In 1905, Bourdelle had his first personal exhibition, in the gallery of the foundry-owner Hébrand.  With the support of Hébrand and the material assistance of his foundry, Bourdelle was able to make larger works and earn greater recognition.  His father died in 1906, and Bourdelle changed his first name to simply Antoine, after his father. He married his second wife, Cléopatre Sevastos (1892-1972), who was of Greek origin. She and their daughter, Rhodia, became a frequent inspiration for his works.<ref>Lemoine (2004), pg.</ref>

In 1908, Bourdelle left the studio of Rodin and set out on his own. In 1909 he exhibited a new work, ''[[Hercules the Archer]]'' at the annual Salon of the Societé Nationale des Beaux-Arts. He began to teach at the [[Académie de la Grande Chaumière]], where his students included [[Giacometti]], [[Yitzhak Frenkel|Isaac Frenkel]] and [[Adaline Kent]].<ref name="Adaline Kent">{{Cite web|date=2012|title=Adaline Kent|url=http://rehistoricizing.org/adaline-kent/|access-date=12 June 2020|website=Rehistoricizing The Time Around Abstract Expressionism in the San Francisco Bay Area (1950s–1960s)|language=en-US}}</ref>

In 1913 the [[Théâtre des Champs-Élysées]] was inaugurated, with decoration on the facade and the interior atrium designed by Bourdelle. This work announced the debut of the [[Art Deco]] style, and was an important step towards modernism.<ref name="Lemoine 2004, pg. 8"/> He was a participant in the 1913 [[Armory Show]] in New York, a founder and vice-president of the Parisian [[Salon des Tuileries]]. He remained in Paris during the First World War, working on a commission for an art patron from Argentina, Rodolfo Acorta, a monument to [[Carlos María de Alvear|General Alvear]], which was inaugurated in Buenos Aires in 1925. In 1929, his first major public sculpture in Paris, the monument to the Polish poet [[Mickiewicz]], was inaugurated on Place d'Alma.{{Where|date=November 2022}}