Editing Sculpture (section)

==Moving toward modern art==
=== 19th–early 20th century, early Modernism and continuing realism ===
<gallery widths="200px" heights="200px">
File:Jeanne d'Arc François Rude.jpg|[[François Rude]], a [[Romanticism|Romantic]] ''[[Jeanne d' Arc]]'', 1852, [[Louvre]]
File:Ugolino and His Sons MET DP247545.jpg|[[Jean-Baptiste Carpeaux]], ''[[Ugolino and His Sons (Carpeaux)|Ugolino and His Sons]]'', 1857–1860, [[Metropolitan Museum of Art]]
File:Per Hasselberg Snöklockan Rottneros Park.jpg|[[Per Hasselberg]], ''[[Snowdrop (sculpture)|Snöklockan]]'' ([[snowdrop]]), Paris 1881. Copy from 1953 in bronze by C & A Nicci (Rome/Italy) placed in Rottneros Park near [[Sunne, Sweden|Sunne]] in [[Värmland]]/[[Sweden]].
File:Auguste Rodin-Burghers of Calais (photo).jpg|[[Auguste Rodin]] ''[[The Burghers of Calais]]'' 1889, [[Calais]], [[France]]
File:Eros@Piccadilly.jpg|[[Alfred Gilbert]], the so-called ''[[Piccadilly Circus#Shaftesbury Memorial and Eros|Eros]]'', 1893, the world's first [[aluminium]] statue, [[Piccadilly Circus]], [[London]]
File:Paul Gauguin, 1894, Oviri (Sauvage), partially glazed stoneware, 75 x 19 x 27 cm, Musée d'Orsay, Paris.jpg|[[Paul Gauguin]], 1894, ''[[Oviri]] (Sauvage)'', partially glazed stoneware, 75 x 19 x 27&nbsp;cm, [[Musée d'Orsay]], Paris
File:Jardín Musée Rodin Pensador 01.JPG|[[Auguste Rodin]], ''[[The Thinker]]'', 1902, [[Musée Rodin]], Paris
File:Le Jour et la Nuit par Antoine Bourdelle.JPG|[[Antoine Bourdelle]], ''Day and Night'', marble, 1903, [[Musée Bourdelle]], Paris
File:La Valse.jpg|[[Camille Claudel]], ''[[The Waltz (Claudel)|The Waltz]]'', 1905 cast of the second version
File:Jan Štursa - Před koupelí.jpg|[[Jan Štursa]], ''Before the Bath,'' 1906, [[National Gallery in Prague]]
File:La Nuit by Aristide Maillol, Paris November 2011 001.jpg|[[Aristide Maillol]], ''The Night (La Nuit)'' 1909, [[Tuileries Garden]], Paris
File:La-Pensee.jpg|Robert Wlérick, ''The Thought'' 1933, [[Morez]]
</gallery>

Modern classicism contrasted in many ways with the classical sculpture of the 19th century which was characterized by commitments to naturalism ([[Antoine-Louis Barye]])—the melodramatic ([[François Rude]]) sentimentality ([[Jean-Baptiste Carpeaux]])—or a kind of stately grandiosity ([[Lord Leighton]]). Several different directions in the classical tradition were taken as the century turned, but the study of the live model and the post-Renaissance tradition was still fundamental to them.
[[Auguste Rodin]] was the most renowned European sculptor of the early 20th century.<ref>Elsen, Albert E. (2003). ''Rodin's Art: The Rodin Collection of the Iris & Gerald B. Cantor Center for the Visual Arts''. Oxford: Oxford University Press. {{ISBN|0-19-513381-1}}.</ref><ref>[http://www.psmuseum.org/exhibitions/upcoming_exhibition_new.php ''Rodin to Now: Modern Sculpture''] {{Webarchive|url=https://web.archive.org/web/20120825153524/http://www.psmuseum.org/exhibitions/upcoming_exhibition_new.php |date=2012-08-25 }}, Palm Springs Desert Museum.</ref> He is often considered a sculptural [[Impressionist]], as are his students including [[Camille Claudel]], and [[Hugo Rheinhold]], attempting to model of a fleeting moment of ordinary life.
Modern classicism showed a lesser interest in naturalism and a greater interest in formal stylization. Greater attention was paid to the rhythms of volumes and spaces—as well as greater attention to the contrasting qualities of surface (open, closed, planar, broken etc.) while less attention was paid to story-telling and convincing details of anatomy or costume. Greater attention was given to psychological effect than to physical realism, and influences from earlier styles worldwide were used.

Early masters of modern classicism included: [[Aristide Maillol]], [[Alexander Matveyev]], [[Joseph Bernard (sculptor)|Joseph Bernard]], [[Antoine Bourdelle]], [[Georg Kolbe]], [[Libero Andreotti]], [[Gustav Vigeland]], [[Jan Stursa]], [[Constantin Brâncuși]]. As the century progressed, modern classicism was adopted as the national style of the two great European totalitarian empires: [[Nazi Germany]] and [[Union of Soviet Socialist Republics|Soviet Russia]], who co-opted the work of earlier artists such as Kolbe and [[Wilhelm Lehmbruck]] in Germany<ref>Curtis, Penelpoe, ''Taking Positions: Figurative Sculpture and the Third Reich'', Henry Moore Institute, London, 2002.</ref> and Matveyev in Russia. Over the 70 years of the USSR, new generations of sculptors were trained and chosen within their system, and a distinct style, [[socialist realism]], developed, that returned to the 19th century's emphasis on melodrama and naturalism.

Classical training was rooted out of art education in Western Europe (and the Americas) by 1970 and the classical variants of the 20th century were marginalized in the history of modernism. But classicism continued as the foundation of art education in the Soviet academies until 1990, providing a foundation for expressive figurative art throughout eastern Europe and parts of the Middle East. By 2000, the European classical tradition retains a wide appeal to the public but awaits an educational tradition to revive its contemporary development.

Some of the modern classical became either more decorative/art deco ([[Paul Manship]], [[Jose de Creeft]], [[Carl Milles]]) or more abstractly stylized or more expressive (and Gothic) ([[Anton Hanak]], [[Wilhelm Lehmbruck]], [[Ernst Barlach]], [[Arturo Martini]])—or turned more to the Renaissance ([[Giacomo Manzù]], [[Venanzo Crocetti]]) or stayed the same ([[Charles Despiau]], [[Marcel Gimond]]).