In 1883, Rodin agreed to supervise a course for sculptor Alfred Boucher in his absence, where he met the 18-year-old Camille Claudel. The two formed a passionate but stormy relationship and influenced each other artistically. Claudel inspired Rodin as a model for many of his figures, and she was a talented sculptor, assisting him on commissions. Image File history File links Camille_Claudel. ... Image File history File links Camille_Claudel. ... for the movie by the same name, see Camille Claudel (film) Camille Claudel (1864-1943) Camille Claudel (December 8, 1864 – October 19, 1943) was a French sculptor and graphic artist. ... Alfred Boucher (1850-1934), French sculptor. ... for the movie by the same name, see Camille Claudel (film) Camille Claudel (1864-1943) Camille Claudel (December 8, 1864 – October 19, 1943) was a French sculptor and graphic artist. ...
In 1889, the Paris Salon invited Rodin to be a judge on its artistic jury. Though Rodin's career was on the rise, Claudel and Beuret were becoming increasingly impatient with Rodin's "double life". Claudel and Rodin shared an atelier at a small old castle, but Rodin refused to relinquish his ties to Beuret, his loyal companion during the lean years, and mother of his son. During one absence, Rodin wrote to Beuret, "I think of how much you must have loved me to put up with my caprices…I remain, in all tenderness, your Rodin."[19] Claudel and Rodin parted in 1898,[20] and Claudel's mental health deteriorated. Atelier is a French word literally translated as workshop. In English, it is used to refer to a working studio, typically an artists studio. ...
Works
In 1864, Rodin submitted his first sculpture for exhibition, The Man with the Broken Nose, to the Paris Salon. The subject was an elderly neighbourhood street porter. The unconventional bronze piece was not a traditional bust, but instead the head was "broken off" at the neck, the nose was flattened and crooked, and the back of the head was absent, having fallen off the clay model in an accident. The work emphasized texture and the emotional state of the subject; it illustrated the "unfinishedness" that would characterize many of Rodin's later sculptures.[21] The Salon rejected the piece. This article is about the metal alloy. ... Bust of Richard Bently by Roubiliac A bust is a sculpture depicting a persons chest, shoulders, and head, usually supported by a stand. ...
In Brussels, Rodin created his first full-scale work, The Age of Bronze, having returned from Italy. Modelled by a Belgian soldier, the figure drew inspiration from Michelangelo's Dying Slave, which Rodin had observed at the Louvre. Attempting to combine Michelangelo's mastery of the human form with his own sense of human nature, Rodin studied his model from all angles, at rest and in motion; he mounted a ladder for additional perspective, and made clay models, which he studied by candlelight. The result was a life-size, well-proportioned nude figure, posed unconventionally with his right hand atop his head, and his left arm held out at his side, forearm parallel to the body. Image File history File links Download high-resolution version (1180x2184, 316 KB) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Auguste Rodin ... Image File history File links Download high-resolution version (1180x2184, 316 KB) File links The following pages on the English Wikipedia link to this file (pages on other projects are not listed): Auguste Rodin ... To meet Wikipedias quality standards, this article or section may require cleanup. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... Dying Slave The Dying Slave is a famous sculpture by the Italian Renaissance artist Michelangelo. ... This article is about the museum. ...
Its mastery of form, light, and shadow made the work look so realistic that Rodin was accused of surmoulage—having taken a cast from a living model.[12] Rodin vigorously denied the charges, writing to newspapers and having photographs taken of the model to prove how the sculpture differed. He demanded an inquiry and was eventually exonerated by a committee of sculptors. Leaving aside the false charges, the piece polarized critics. It had barely won acceptance for display at the Paris Salon, and criticism likened it to "a statue of a sleepwalker" and called it "an astonishingly accurate copy of a low type".[23] Others rallied to defend the piece and Rodin's integrity. The government minister Turquet admired the piece, and The Age of Bronze was purchased by the state for 2,200 francs—what it had cost Rodin to have it cast in bronze.[23]
St. John the Baptist Preaching (1878).
A second male nude, St. John the Baptist Preaching, was completed in 1878. Rodin sought to avoid another charge of surmoulage by making the statue larger than life: St. John stands almost 6' 7'' (2 m). While the The Age of Bronze is statically posed, St. John gestures and seems to move toward the viewer. The effect of walking is achieved despite the figure having both feet firmly on the ground—a physical impossibility, and a technical achievement that was lost on most contemporary critics.[24] Rodin chose this contradictory position to, in his words, "display simultaneously…views of an object which in fact can be seen only successively".[25] Despite the title, St. John the Baptist Preaching did not have an obviously religious theme. The model, an Italian peasant who presented himself at Rodin's studio, possessed an idiosyncratic sense of movement that Rodin felt compelled to capture. Rodin thought of John the Baptist, and carried that association into the title of the work.[25] In 1880, Rodin submitted the sculpture to the Paris Salon. Critics were still mostly dismissive of the work, but the piece finished third in the Salon's sculpture category.[25] Image File history File links Metadata Size of this preview: 304 × 599 pixelsFull resolution (568 × 1120 pixels, file size: 108 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ... Image File history File links Metadata Size of this preview: 304 × 599 pixelsFull resolution (568 × 1120 pixels, file size: 108 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ... St. ...
Regardless of the immediate receptions of St. John and The Age of Bronze, Rodin had achieved a new degree of fame. Students sought him at his studio, praising his work and scorning the charges of surmoulage. The artistic community knew his name.
The Thinker (originally titled The Poet, after Dante) was to become one of the most well-known sculptures in the world. The original was a 27.5 inch-high bronze piece created between 1879 and 1889, designed for the Gates' lintel, from which the figure would gaze down upon Hell. While The Thinker most obviously characterizes Dante, aspects of the Biblical Adam, the mythological Prometheus,[16] and Rodin himself have been ascribed to him.[29][30] Other observers stress the figure's rough physicality and emotional tension, and suggest that The Thinker's renowned pensiveness is not intellectual.[31] Pre-fabricated, pre-tensioned concrete lintels spanning garage doors. ... For other uses, see Adam (disambiguation). ... In Greek mythology, Prometheus (Ancient Greek: , forethought)[1] is a Titan known for his wily intelligence, who stole fire from Zeus and gave it to mortals for their use. ...
The Burghers of Calais by Auguste Rodin, in Victoria Tower Gardens, London, England. ... The Burghers of Calais by Auguste Rodin, in Victoria Tower Gardens, London, England. ... Rodins The Burghers of Calais in Calais, France The Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1888. ... Victoria Tower Gardens is a public park along the north bank of the River Thames in London. ...
Rodin began the project in 1884, inspired by the chronicles of the siege by Jean Froissart.[32] Though the town envisioned an allegorical, heroic piece centered on Eustache de Saint-Pierre, the eldest of the six men, Rodin conceived the sculpture as a study in the varied and complex emotions under which all six men were laboring. One year into the commission, the Calais committee was not impressed with Rodin's progress. Rodin indicated his willingness to end the project rather than change his design to meet the committee's conservative expectations, but Calais said to continue. Jean Froissart (~1337 - ~1405) was one of the most important of the chroniclers of medieval France. ... An allegory (from Greek αλλος, allos, other, and αγορευειν, agoreuein, to speak in public) is a figurative representation conveying a meaning other than and in addition to the literal. ...
In 1889, The Burghers of Calais was first displayed to general acclaim. It is a bronze sculpture weighing two tons (1814 kg), and its figures are 2 metres tall.[32] The six men portrayed do not display a united, heroic front;[33] rather, each is isolated from his brothers, individually deliberating and struggling with his expected fate. Rodin soon proposed that the monument's high pedestal be eliminated, wanting to move the sculpture to ground level so that viewers could "penetrate to the heart of the subject".[34] At ground level, the figures' positions lead the viewer around the work, and subtly suggest their common movement forward.[35] The committee was incensed by the untraditional proposal, but Rodin would not yield. In 1895, Calais succeeded in having Burghers displayed in their preferred form: the work was placed in front of a public garden on a high platform, surrounded by a cast-iron railing. Rodin had wanted it located near the town hall, where it would engage the public. Only after damage during the First World War, subsequent storage, and Rodin's death was the sculpture displayed as he had intended. It is one of Rodin's most well-known and acclaimed works.[32]
Commissions and controversy
Rodin observing work on the monument to Victor Hugo at the studio of his assistant Henri Lebossé in 1896.
Commissioned to create a monument to French writer Victor Hugo in 1889, Rodin dealt extensively with the subject of artist and muse. Like many of Rodin's public commissions, Monument to Victor Hugo met with resistance because it did not fit conventional expectations. Commenting on Rodin's monument to Victor Hugo, The Times in 1909 expressed that "there is some show of reason in the complaint that [Rodin's] conceptions are sometimes unsuited to his medium, and that in such cases they overstrain his vast technical powers".[36] The 1897 plaster model was not cast in bronze until 1964. Image File history File links Size of this preview: 800 × 481 pixelsFull resolution (925 × 556 pixels, file size: 239 KB, MIME type: image/jpeg) Date 1896 Author Unknown Permission (Reusing this image) PD-US File historyClick on a date/time to view the file as it appeared at that time. ... Image File history File links Size of this preview: 800 × 481 pixelsFull resolution (925 × 556 pixels, file size: 239 KB, MIME type: image/jpeg) Date 1896 Author Unknown Permission (Reusing this image) PD-US File historyClick on a date/time to view the file as it appeared at that time. ... Victor-Marie Hugo (pronounced ) (February 26, 1802 — May 22, 1885) was a French poet, playwright, novelist, essayist, visual artist, statesman, human rights campaigner, and perhaps the most influential exponent of the Romantic movement in France. ... The Times is a national newspaper published daily in the United Kingdom (and the Kingdom of Great Britain before the United Kingdom existed) since 1788 when it was known as The Daily Universal Register. ...
The Société des Gens des Lettres, a Parisian organization of writers, planned a monument to French novelist Honoré de Balzac immediately after his death in 1850. The society commissioned Rodin to create the memorial in 1891, and Rodin spent years developing the concept for his sculpture. Challenged in finding an appropriate representation of Balzac given the author's rotund physique, Rodin produced many studies: portraits, full-length figures in the nude, wearing a frock coat, or in a robe—a replica of which Rodin had requested. The realized sculpture displays Balzac cloaked in the drapery, looking forcefully into the distance with deeply gouged features. Rodin's intent had been to show Balzac at the moment of conceiving a work[37]—to express courage, labor, and struggle.[38] Balzac redirects here. ... Formal black frock coat with silk-faced lapels, light grey waistcoat, striped trousers, button boots, gloves, ascot-knotted cravate, and necktie pin; April 1904. ... A dragon robe from Qing Dynasty of China A robe is a loose-fitting outer garment. ...
Monument to Balzac (1891–1898).
When Balzac was exhibited in 1898, the negative reaction was not surprising.[29] The Société rejected the work, and the press ran parodies. Criticizing the work, Morey (1918) reflected, "there may come a time, and doubtless will come a time, when it will not seem outre to represent a great novelist as a huge comic mask crowning a bathrobe, but even at the present day this statue impresses one as slang."[7] A contemporary critic, indeed, indicates that Balzac is considered one of Rodin's masterpieces.[39] The monument had its supporters in Rodin's day; a manifesto defending him was signed by Monet, Debussy, and future PremierGeorges Clemenceau, among many others.[40] Image File history File links Metadata Size of this preview: 400 × 600 pixelsFull resolution (1866 × 2799 pixels, file size: 907 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ... Image File history File links Metadata Size of this preview: 400 × 600 pixelsFull resolution (1866 × 2799 pixels, file size: 907 KB, MIME type: image/jpeg) File historyClick on a date/time to view the file as it appeared at that time. ... In contemporary usage, parody is a form of satire that imitates another work of art in order to ridicule it. ... Oscar-Claude Monet (November 14, 1840 - December 5, 1926), French impressionist painter. ... Claude Debussy Claude Achille Debussy (August 22, 1862 – March 25, 1918), composer of impressionistic classical music. ... The Prime Minister of France (Premier ministre de la France) is the functional head of the Cabinet of France. ... Georges Clemenceau, by Nadar. ...
Rather than try to convince skeptics of the merit of the monument, Rodin repaid the Société his commission and moved the figure to his garden. After this experience, Rodin did not complete another public commission. Only in 1939 was Monument to Balzac cast in bronze.
Other works
The popularity of Rodin's most famous sculptures tends to obscure his total creative output. A prolific artist, he created thousands of busts, figures, and sculptural fragments over more than five decades. He painted in oils (especially in his thirties) and in watercolors. The Musée Rodin holds 7,000 of his drawings and prints, in chalk and charcoal, and 13 vigorous drypoints.[41][42] He also produced a single lithograph. Mona Lisa, Oil on wood panel painting by Leonardo da Vinci. ... Watercolor (watercolour in the UK and aquarelle in France) designates a painting method, the medium, or the resulting artwork, in which the paints are made of pigments suspended in a water soluble vehicle. ... The Needles, situated on the Isle Of Wight, are part of the extensive Southern England Chalk Formation. ... Charcoal is the blackish residue consisting of impure carbon obtained by removing water and other volatile constituents from animal and vegetation substances. ... Drypoint is a printmaking technique of the intaglio family, in which an image is incised into a plate by scratching the surface with a hard, sharp metal (or diamond) point. ... Lithography is a method for printing on a smooth surface, as well as a method of manufacturing semiconductor and MEMS devices. ...
Portraiture was an important component of Rodin's oeuvre, helping him to win acceptance and financial independence.[43] His first sculpture was a bust of his father in 1860, and he produced at least 56 portraits between 1877 and his death in 1917.[44] Early subjects included fellow sculptor Jules Dalou (1883) and companion Camille Claudel (1884). Later, with his reputation established, Rodin made busts of prominent contemporaries such as English politician George Wyndham (1905), Irish playwright George Bernard Shaw (1906), Austrian composer Gustav Mahler (1909), and French statesman Georges Clemenceau (1911). Aimé-Jules Dalou, born December 31, 1838 - died April 15, 1902, was a French sculptor. ... for the movie by the same name, see Camille Claudel (film) Camille Claudel (1864-1943) Camille Claudel (December 8, 1864 – October 19, 1943) was a French sculptor and graphic artist. ... George Wyndham (1863 - 1913) was a significant English political figure. ... George Bernard Shaw (26 July 1856–2 November 1950) was a world-renowned Irish author. ... “Mahler†redirects here. ... Georges Clemenceau, by Nadar. ...
Rodin's talent for surface modeling allowed him to let every part of the body speak for the whole. The male's passion in The Kiss is suggested by the grip of his toes on the rock, the rigidness of his back, and the differentiation of his hands.[7] Speaking of The Thinker, Rodin illuminated his aesthetic: "What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, his distended nostrils and compressed lips, but with every muscle of his arms, back, and legs, with his clenched fist and gripping toes."[46]
Sculptural fragments to Rodin were autonomous works, and he considered them the essence of his artistic statement. His fragments—perhaps lacking arms, legs, or a head—took sculpture further from its traditional role of portraying likenesses, and into a realm where forms existed for their own sake.[47] Notable examples are The Walking Man, Meditation without Arms, and Iris, Messenger of the Gods. The Walking Man in the Art Institute of Chicago The Walking Man (Lhomme qui marche in French) is a famous sculpture by the world-renowned French sculptor Auguste Rodin. ...
Rodin saw suffering and conflict as hallmarks of modern art. "Nothing, really, is more moving than the maddened beast, dying from unfulfilled desire and asking in vain for grace to quell its passion."[30]Charles Baudelaire echoed those themes, and was among Rodin's favorite poets. Rodin enjoyed music, especially the opera composer Gluck, and wrote a book about French cathedrals. He owned a work by the as-yet-unrecognized Van Gogh, and admired the forgotten El Greco.[48] “Baudelaire†redirects here. ... Christoph Willibald Gluck (July 2, 1714 – November 15, 1787) was a German composer. ... This is a list of cathedrals in France, including both actual and former diocesan cathedrals (seats of bishops in episcopal denominations, such as Catholicism, Anglicanism, and Orthodoxy) and a few prominent churches from non-episcopal denominations that have the word cathedral in their names. ... van Gogh redirects here. ... For the Vangelis album, see El Greco (album). ...
Instead of copying traditional academic postures, Rodin preferred to work with amateur models, street performers, acrobats, strong men and dancers. In the atelier, his models moved about and took positions without manipulation.[7] Very devoted to his craft, Rodin worked constantly but not feverishly. The sculptor made quick sketches in clay that were later fine-tuned, cast in plaster, and forged into bronze or carved in marble. Rodin was fascinated by dance and spontaneous movement. As France's best-known sculptor, he had a large staff of pupils, craftsmen, and stone cutters working for him, including the Czech sculptors Josef Maratka and Joseph Kratina. Through his method of marcottage (layering), he used the same sculptural elements time and time again, under different names and in different combinations. Disliking the formality of pedestals, Rodin placed many of his subjects around rough rock to emphasize their immediacy and provide contrast.[49] Image File history File linksMetadata Download high-resolution version (2592x1944, 1741 KB) Plaster cast of Rodins Lage dairain, National Gallery of Art. ... Image File history File linksMetadata Download high-resolution version (2592x1944, 1741 KB) Plaster cast of Rodins Lage dairain, National Gallery of Art. ... This article is about the building material. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... Atelier is a French word literally translated as workshop. In English, it is used to refer to a working studio, typically an artists studio. ... A statue of Henry IV of France on a pedestal Pedestal (from French piedestal, Italian piedestallo, foot of a stall) is a term generally applied to the support of a statue or a vase. ...
George Bernard Shaw sat for a portrait and gave an idea of Rodin's technique: "While he worked, he achieved a number of miracles. At the end of the first fifteen minutes, after having given a simple idea of the human form to the block of clay, he produced by the action of his thumb a bust so living that I would have taken it away with me to relieve the sculptor of any further work." He described the evolution of his bust over a month, passing through "all the stages of art's evolution": first, a "Byzantine masterpiece", then "Bernini intermingled", then an elegant Houdon. "The hand of Rodin worked not as the hand of a sculptor works, but as the work of Elan Vital. The Hand of God is his own hand."[50] George Bernard Shaw (26 July 1856–2 November 1950) was a world-renowned Irish author. ... The most famous of the surviving Byzantine mosaics of the Hagia Sophia in Constantinople - the image of Christ Pantocrator on the walls of the upper southern gallery. ... A self portrait: Bernini is said to have used his own features in the David (below, left) Gian Lorenzo Bernini (Giovanni Lorenzo Bernini) (December 7, 1598 - November 28, 1680), who worked chiefly in Rome, was the pre-eminent baroque artist. ... Diane huntress, Louvre Jean-Antoine Houdon (March 20, 1741 – July 15, 1828) was a French neoclassical sculptor. ... Élan vital, coined by French philosopher Henri Bergson in his 1907 book Creative Evolution, was translated in the English edition as vital impetus, but is usually translated by his detractors as vital force. It is a hypothetical explanation for evolution and development of organisms, which Bergson linked closely with consciousness. ...
After the turn of the century, Rodin was a regular visitor to Great Britain, where he developed a loyal following by the beginning of the First World War. He first visited England in 1881, where his friend, the artist Alphonse Legros, had introduced him to the poet William Ernest Henley. With his personal connections and enthusiasm for Rodin's art, Henley was most responsible for Rodin's reception in Britain.[53] Through Henley, Rodin met Robert Louis Stevenson and Robert Browning, in whom he found further support.[54] Encouraged by the enthusiasm of British artists, students, and high society for his art, Rodin donated a significant selection of his works to the nation in 1914. Alphonse Legros (May 8, 1837 - December 8, 1911), painter and etcher, was born at Dijon. ... William Ernest Henley (August 23, 1849 - July 11, 1903) was a British poet, critic and editor. ... Robert Louis (Balfour) Stevenson (November 13, 1850 – December 3, 1894), was a Scottish novelist, poet, and travel writer, and a leading representative of Neo-romanticism in English literature. ... Robert Browning (May 7, 1812 – December 12, 1889) was a British poet and playwright whose mastery of dramatic verse, especially dramatic monologues, made him one of the foremost Victorian poets. ...
In 1903, Rodin was elected president of the International Society of Painters, Sculptors, and Engravers. He replaced its former president, James Abbott McNeill Whistler, upon Whistler's death. His election to the prestigious position was largely due to the efforts of Albert Ludovici, father of English philosopher Anthony Ludovici. James Abbott McNeill Whistler (July 14, 1834 - July 17, 1903) was an American painter and etcher. ... Anthony Mario Ludovici, (January 8, 1882 – April 3, 1971) was an English philosopher, Nietzschean sociologist and social critic. ...
During his later creative years, Rodin's work turned increasingly toward the female form, and themes of more overt masculinity and femininity.[29] He concentrated on small dance studies, and produced numerous erotic drawings, sketched in a loose way, without taking his pencil from the paper or his eyes from the model. Rodin met American dancer Isadora Duncan in 1900, attempted to seduce her,[55] and the next year sketched studies of her and her students. In July 1906, Rodin was also enchanted by dancers from the Royal Ballet of Cambodia, and produced some of his most famous drawings from the experience.[56] Fragonards The Swing is rather tame for modern standards, but in the 18th century depicting a lady with a man able to look up her skirts was considered highly erotic. ... Isadora Duncan Isadora Duncan (May 27, 1877 – September 14, 1927) was an American dancer. ...
In the market for sculpture, plagued by fakes, being able to prove the authenticity of a piece by its provenance increases its value significantly. A Rodin work with a verified history sold for US$4.8 million in 1999.[61] Art critics concerned about authenticity have argued that taking a cast does not equal reproducing a Rodin sculpture—especially given the importance of surface treatment in Rodin's work.[62]
The Thinker (1879–1889) is among the most recognized works in all of sculpture.
Rodin restored an ancient role of sculpture—to capture the physical and intellectual force of the human subject[64]—and he freed sculpture from the repetition of traditional patterns, providing the foundation for greater experimentation in the twentieth century. His popularity is ascribed to his emotion-laden representations of ordinary men and women—to his ability to find the beauty and pathos in the human animal. His most popular works, such as The Kiss and The Thinker, are widely used outside the fine arts as symbols of human emotion and character.[66]
^ "(François) Auguste (René) Rodin." International Dictionary of Art and Artists. St. James Press, 1990. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2006.
^ ab "Auguste Rodin." Encyclopedia of World Biography, 2nd ed. 17 Vols. Gale Research, 1998. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2006.
^ abcd Swedberg, Richard (2005). "Auguste Rodin's The Burghers of Calais: The Career of a Sculpture and its Appeal to Civic Heroism". Theory, Culture, & Society22 (2): 45-67. doi:10.1177/0263276405051665.
^ ab Stocker, Mark (November 2006). "A simple sculptor or an apostle of perversion?". Apollo164 (537): 94-97.
^ Winship, Frederick M. (2002-09-16). "Bogus bronzes flood market: an estimated 4,000 fake castings have put the market for 19th- and 20th-century bronze sculpture in jeopardy". Insight on the News26 (1).
^ Gibson, Eric (2005). "The real Rodin". New Criterion24 (4): 37-40.
^ abc Hunisak, John M. (1981). "Rodin Rediscovered". Art Journal41: 370-371.
^ ab Gardner, Albert Ten Eyck (1957). "The Hand of Rodin". The Metropolitan Museum of Art Bulletin, New Series15 (9): 200-204.
is the 322nd day of the year (323rd in leap years) in the Gregorian calendar. ... 1917 (MCMXVII) was a common year starting on Monday of the Gregorian calendar (see link for calendar) or a common year starting on Tuesday of the 13-day slower Julian calendar (see: 1917 Julian calendar). ... A digital object identifier (or DOI) is a standard for persistently identifying a piece of intellectual property on a digital network and associating it with related data, the metadata, in a structured extensible way. ... Year 2006 (MMVI) was a common year starting on Sunday of the Gregorian calendar. ... is the 353rd day of the year (354th in leap years) in the Gregorian calendar. ... A digital object identifier (or DOI) is a standard for persistently identifying a piece of intellectual property on a digital network and associating it with related data, the metadata, in a structured extensible way. ... Year 1909 (MCMIX) was a common year starting on Friday (link will display full calendar) of the Gregorian calendar (or a common year starting on Thursday of the 13-day-slower Julian calendar). ... is the 277th day of the year (278th in leap years) in the Gregorian calendar. ... 1917 (MCMXVII) was a common year starting on Monday of the Gregorian calendar (see link for calendar) or a common year starting on Tuesday of the 13-day slower Julian calendar (see: 1917 Julian calendar). ... is the 323rd day of the year (324th in leap years) in the Gregorian calendar. ... Year 1931 (MCMXXXI) was a common year starting on Thursday (link will display full 1931 calendar) of the Gregorian calendar. ... is the 195th day of the year (196th in leap years) in the Gregorian calendar. ... Adobe Flash, or simply Flash, refers to both the Adobe Flash Player, and to the Adobe Flash Professional multimedia authoring program. ... The West building of the National Gallery of Art with the East building visible behind and to to the left The National Gallery of Art is an art museum, located on the National Mall in Washington, D.C. The museum was established in 1937 by the Congress, with funds for... Year 2006 (MMVI) was a common year starting on Sunday of the Gregorian calendar. ... is the 346th day of the year (347th in leap years) in the Gregorian calendar. ... Year 2006 (MMVI) was a common year starting on Sunday of the Gregorian calendar. ... December 27 is the 361st day of the year in the Gregorian calendar (362nd in leap years). ... 17 November is also the name of a Marxist group in Greece, coinciding with the anniversary of the Athens Polytechnic uprising. ... 1917 (MCMXVII) was a common year starting on Monday of the Gregorian calendar (see link for calendar) or a common year starting on Tuesday of the 13-day slower Julian calendar (see: 1917 Julian calendar). ... is the 30th day of the year in the Gregorian calendar. ... 1917 (MCMXVII) was a common year starting on Monday of the Gregorian calendar (see link for calendar) or a common year starting on Tuesday of the 13-day slower Julian calendar (see: 1917 Julian calendar). ... Year 2007 (MMVII) is the current year, a common year starting on Monday of the Gregorian calendar and the AD/CE era in the 21st century. ... is the 36th day of the year in the Gregorian calendar. ... Also see: 2002 (number). ... is the 259th day of the year (260th in leap years) in the Gregorian calendar. ... Year 2006 (MMVI) was a common year starting on Sunday of the Gregorian calendar. ... is the 353rd day of the year (354th in leap years) in the Gregorian calendar. ...
