Revolutionary Times Franceís Houdon Sculpted Enduring Figures of History by Gary Tischler With the rise of ìfreedomî fries and other curmudgeonly American outbursts of annoyance with all things French, itís a good thing Jean-Antoine Houdon has shown up at the National Gallery of Art to put things in their proper, rational perspective. Walk through the galleryís rooms of marble sculptures, in the presence of great men and women sculptorsóof all nationalitiesóand youíll be in very good company. You will also get confirmation of Houdonís genius as an artist and his ability to sculpt subjects as outsized, enduring figures of history. Thomas Jefferson, Benjamin Franklin and George Washington were just a few of Houdonís subjects on the American side. Voltaire, Jean-Jacques Rousseau, Moliere and Napoleon Bonaparte were some on the French side. In these hallways in the West Building of the National Gallery, viewers are transported to the Age of Enlightenment, a description that might not be so applicable to todayís contemporary times. Houdon (1741 -1828) lived through the French and Indian wars, the American Revolution, the French Revolution and the rise and fall of Napoleon. Somehow, he managed to sculpt just about all of the important figures of the times except for the revolutionaries of the French Revolution and Marie Antoinette, who is missing in spite of Houdonís status as a court sculptor. The unfortunate Louis XVI is here, however, adopting the pose and attitude of a king, if not the substance. In the exhibition ìJean-Antoine Houdon (1741-1828): Sculptor of the Enlightenment,î Houdon emerges as something much more than merely an Enlightenment sculptor. During two earth-shaking, history-changing revolutions, Houdon was something of a revolutionary himself, basing his work on a complicated idea. Technically, he continued to use the lines of classical sculpture, but he improved upon the style with his meticulous attention to detail, getting the physical details not only right, but exactly right. He sought to achieve anatomical truth, as evidenced by the startling ìLí EcorchÈ (Figure of a Flayed Man)î sculpture that greets museum visitors. Houdon also believed that although artists should portray the truth, they should also edit that truth somewhat until the only things left are the most beautiful aspects of the subject. Houdon was a master at capturing the truth about his subjectsí personalities and souls, which is why his sculptures are not merely admirable and beautiful but also often moving and affecting. Consider the three key figures of the Enlightenment and the roles they played: Denis Diderot, the all-purpose French leader, Rousseau, the intense, radical philosopher, and Voltaire, the soul and spirit of France. The plaster bust of Rousseau is highly detailed, the face strong with a hint of querulous suspicion, as if someone was about to break his ìThe Social Contract.î Voltaire on the other hand, in three marble busts, seems to evolve from bewigged sage to saint-like Yoda. Diderot, in the four representations here, seems self-assured, as befits the great military, intellectual and political figure. If it is idealism you want, you can travel back in time to the thrilling days when U.S.-French relations were bonded by admiration, friendship and mutual assistance. Benjamin Franklin, depicted here by Houdon as a wise, complicated figure, was the nexus of that fruitful relationship. Houdon would also become good friends with Thomas Jefferson and George Washington, traveling to Mount Vernon to make a mask of Washingtonís face and various busts, one of which is shown in this exhibition. Despite focusing on great leaders, Houdon did not neglect the arts in his work. Busts of composers, actors as well as a grand bust of Moliere are also featured in the exhibit. But the most striking works among these are two busts of the beautiful singer Sophie Arnould, who flamed brightly as a scandalous figure and actress. She had many lovers, trailed scandal behind her like a particularly fitting and spectacular train, and reportedly had a distinct and powerful expressiveness. Houdon captures her from a performance of ìIphigenia.î In both the plaster version and the marble bust, there is an improbable, almost impossible amount of passion and soul in heróso much so that you might think the cool marble would almost be too hot to touch. Thatís the essence of Houdon. ìJean-Antoine Houdon (1741-1828): Sculptor of the Enlightenmentî runs through Sept. 7 at the National Gallery of Art, 3rd and 9th streets at Constitution Avenue, NW. For more information, please call (202) 737-4215 or visit www.nga.gov. Gary Tischler is a contributing writer for The Washington Diplomat.