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Background[ edit ] The Gates of Hell , sculpture by Rodin, where the concept for the sculpture originated. The sculpture, The Kiss, was originally titled Francesca da Rimini , as it depicts the 13th-century Italian noblewoman immortalised in Dante 's Inferno Circle 2, Canto 5 who falls in love with her husband Giovanni Malatesta 's younger brother Paolo. Having fallen in love while reading the story of Lancelot and Guinevere , the couple are discovered and killed by Francesca's husband. In the sculpture, the book can be seen in Paolo's hand. The lovers' lips do not actually touch in the sculpture, suggesting that they were interrupted and met their demise without their lips ever having touched. When critics first saw the sculpture in , they suggested the less specific title Le Baiser The Kiss. Rodin indicated that his approach to sculpting women was of homage to them and their bodies, not just submitting to men but as full partners in ardor. The consequent eroticism in the sculpture made it controversial. The sculpture was considered unsuitable for general display and relegated to an inner chamber with admission only by personal application. Small versions[ edit ] Rodin's method of making large sculptures was to employ assistant sculptors to copy a smaller model made from a material which was easier to work than marble. Once they had finished, Rodin himself would put the finishing touches to the larger version. Before creating the marble version of The Kiss, Rodin produced several smaller sculptures in plaster , terracotta and bronze. It was so popular that the company Barbedienne offered Rodin a contract to produce a limited number of smaller copies in bronze. Warren's commission[ edit ] In , Rodin made a copy for Edward Perry Warren , an eccentric American collector who lived in Lewes in Sussex , England , with his collection of Greek antiquities and his lover John Marshall. After seeing The Kiss in the Salon de Paris, the painter William Rothenstein recommended it to Warren as a possible purchase, but The Kiss had been commissioned by the French government and was not available for sale. In its place, Rodin offered to make a copy and Warren offered half of its original price 10, francs, instead of 20, , but Rodin would not lower the price. The contract for the commission included that "the genitals of the man must be complete. When the sculpture arrived in Lewes in , Warren placed it in the stables at the back of his home, Lewes House, on School Hill, where it remained for a decade. It is not known whether this location was chosen due to the great size of the sculpture or because it did not fulfil Warren's expectations. In the sculpture was loaned to the Lewes town council and put on public display in the Town Hall. A number of puritanical local residents, led by headmistress Miss Fowler-Tutt, objected to the erotic nature of the sculpture. They were particularly concerned that it might encourage the ardour of the large number of soldiers who were billeted in the town at that time, and successfully campaigned to have the sculpture draped and screened from public view. It was returned to Warren's residence at Lewes House in where it remained stored in the stable for 12 years until Warren's death in The beneficiary of Warren's will, H. Asa Thomas, put the sculpture up for sale with Gorringes, the local auctioneers, but it failed to meet its reserve price and was withdrawn from sale. A few years later it was loaned to the Tate Gallery in London. Its regular home is now the Tate Modern - however, in September , the work was transferred to the Tate Liverpool, Albert Dock where it assumed pride of place for the duration of the celebrations surrounding both that city's 8th Centenary and Liverpool's European Capital of Culture status in A third replica was commissioned in by Carl Jacobsen for his projected museum in Copenhagen , Denmark. The replica was made in , and became part of the initial collection of the Ny Carlsberg Glyptotek , inaugurated in A fourth copy, about Bronze cast in Museo Soumaya , Mexico City In Spring , artist Cornelia Parker intervened in The Kiss with the permission of the Tate Britain gallery,  where it was exhibited at the time, by wrapping the sculpture in a mile of string. This was a historical reference to Marcel Duchamp 's use of the same length of string to create a web inside a gallery in The Kiss is figured into the plot of the All in the Family episode "Archie and The Kiss," where Archie Bunker tries to make his daughter, Gloria, give back a reproduction of the sculpture she had been given by the Bunkers' friend, Irene Lorenzo. Archie expresses his disgust over the morality of the sculpture and sexuality in artwork. The female extends her left leg straight out, and the male moves his right hand over it, covering holes with the fingers and playing her like a flute. In most American miniatures, this has been censored, and shows the male in a neutral gender. Museo Nacional de Bellas Artes de Argentina. Retrieved 17 October Fenton, James 8 March
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