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Jean de Fiennes

Jean de Fiennes is a sculpture by Auguste Rodin created in the 1890s as part of The Burghers of Calais. It represents one of the six citizens of Calais, alongside figures such as Pierre de Wissant and Eustache de Saint Pierre. The historical Jean de Fiennes was said to be the captain of Calais and the youngest of the group, though the name was assigned to one of the burghers only long after the events of 1346 that inspired Rodin’s scene. Rodin made several studies for the figure, exploring different arm positions, gestures, and drapery before arriving at the final version. The completed figure is clothed, with its arms extended and hands open.

Identification

TitleJean de Fiennes
Typesculpture

Historical context

Historical eventThe Siege of Calais during the Hundred Years' War
Historical figureJean de Fiennes (attributed later; his name was not recorded in Jean Froissart's chronicles and was assigned to one of the burghers long after the 1346 event)
Historical roleCaptain of Calais and the youngest of the six burghers
Associated groupOne of The Burghers of Calais
Related figures in the groupEustache de Saint-Pierre, Pierre de Wiessant, Jacques de Wiessant, Jean d'Aire, Andrieu d'Andres

Creator

ArtistAuguste Rodin
Artist nationalityFrench

Discovery and provenance

Surviving versions and locationsBronze cast at Museo Soumaya, Mexico City; bronze cast at Saint Louis Art Museum; study at Maryhill Museum of Art; armless study at Stanford University
Model and study processRodin made individual models of the figures to study proportions and emotional expression, then worked each piece individually
Alternative nameJean de Vienne
Series or work contextPart of The Burghers of Calais monument
Inauguration placethe city of the historical event
Inaugurated1895
Date of creation1885–1886
Conceived1885–1886
Commissioned1885

Physical characteristics

MaterialBronze
Type of studyIndividual nude modello

Appearance

First nude studyFigure completely nude to study body proportions; one version has arms tense with clenched fists, another has arms at his sides with open hands
Second studyNude upper body with arms extended and palms upward; a shirt is held by the forearms and covers the lower body and legs; face shown in profile facing left
Third studyFigure without arms, covered by a robe from shoulders to feet, with more hair and greater detail in the facial features
Final figureFully dressed in a long camisole reaching the ankles, with arms extended and open hands; the pose matches the first nude study
Separate studiesRodin also created a separate head and a separate left hand

Iconography and meaning

Interpretive meaningThe facial expression is meant to convey the emotions the character may have felt upon learning his fate

Significance

Comparative significanceJean de Fiennes underwent the greatest number of changes of the monument's figures compared with the preliminary studies