See also: Roland

Philippe-Laurent Roland is a French sculptor born in 1746 with Bridge-with-Marcq, close to Lille, in the North of France, and died in Paris in 1816. Its neo-classic work marks the prolongation of the esthetics of the XVIIIe century at the beginning of the next century.

Life and works

Philippe-Laurent Roland begins his formation with the Art school of Lille in his native area before gaining Paris and the workshop of Augustin Pajou with which there will remain very dependant. He will collaborate in particular with him in the decoration of the palate of Versailles. In 1771 it begins, on its expenses, a five years stay in Italy, then, at the time of its return in France, is essential little by little until becoming approved member of the Royal Académie of Painting and Sculpture in 1782. It however was not accepted academician. It did not finish within the deadlines its piece of reception Caton d' Utique and did not carry out the second piece which had been imposed to him - Samson - that well after the removal of the Academy. It had obtained in 1784 the load of decorator-sculptor for the private apartments of Louis XVI and Marie-Antoinette in Versailles.

It then carries out parts which are today with the Musée of Louvre like the Death of Caton d' Utique (around 1782) or Samson in 1783. Let us note also a bust car portrait (1780-1785) and a bust of Denis Diderot (1780) exposed to the DHM of Berlin, in Germany.

Under the Revolution, it takes part in the foundation of the Institut of France and becomes professor with the École of the Art schools of Paris: it will remain it until its death, which has occurred brutally in its workshop in 1816.

Louvre preserves this period a certain number of busts , today with the Musée of Louvre like that of Denis-Sebastien Leroy (1796-1797), of Augustin Pajou (1800) or of Lise Roland (1806-1807).

One owes him also the allegory of the Law in the peristyle of the the Pantheon, the statue of Napoleon in the court of the Institute (1807) or the Athéna of the Palais Bourbon.

His/her friend Augustin Pajou carved his face catch in 1797 (in Louvre) and its pupil David of Angers wrote a biography of his beloved Master.

Assessment

Its neo-classic style influenced by the ancient sculpture but with a certain realistic research was expressed especially in the work of the marble and the terra cotta. Without being of a great originality nor of a great force, its work constitutes a good illustration of continuity between the end of the XVIIIe century and first half of the XIXe century without however deeply marking the History of the French Sculpture of the XIXe century.

External bonds

• http://www.insecula.com/contact/A007289.html (works in Louvre)

• http://www.getty.edu/art/gettyguide/artMakerDetails?maker=3638 (card artist in English)

• http://www.dhm.de/ausstellungen/bildzeug/s33b.html (bust of Diderot - Berlin)

• http://www.artnet.com/magazine_pre2000/features/hoving/hoving12-23-20.asp (self-portrait)

• http://we079.lerelaisinternet.com/ (town of Bridge-with-Marc - page History presentation)