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Rodin
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Influenced by the masters of Antiquity, the genius of Michelangelo and Baroque sculpture, particularly of Bernini, Auguste Rodin (1840-1917) is one of the most renowned artists in history. Though Rodin is considered a founder of modern sculpture, he did not set out to critique past classical traditions. Many of his sculptures were criticised and considered controversial because of their sensuality or hyperrealist qualities. His most original works departed from traditional themes of mythology and allegory, and embraced the human body, celebrating individualism and physicality. This book uncovers the life and career of this highly acclaimed artist by exploring his most famous works of art, such as the Gates of Hell, The Thinker and the infamous The Kiss.
Author
Rainer Maria Rilke
RAINER MARIA RILKE (1875 - 1926) is considered one of the greatest German-language writers to have ever lived. He is best known for his Duino Elegies, Sonnets to Orpheus and The Notebooks of Malte Laurids Brigge.
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Book preview
Rodin - Rainer Maria Rilke
Author: Rainer Maria Rilke
Layout: Baseline Co Ltd
61A-63A Vo Van Tan
4th Floor
District 3, Ho Chi Minh City,
Vietnam.
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
All rights reserved
No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-78160-602-5
Rainer Maria Rilke
Auguste
Rodin
TABLE OF CONTENTS
The Sensual Surface
Fame and Fortune
Rodin’s Late Drawings
The Hôtel Biron
Reactions
BIOGRAPHY
LIST OF ILLUSTRATIONS
1. The Kiss, 1888-1889.
Marble, 183.6 x 110.5 x 118.3 cm.
Musée Rodin, Paris.
At the principal annual art exhibition, the Salon, in Paris in 1898, the sculptor Auguste Rodin exhibited two enormous statues – The Kiss (p. 4) and Balzac (p. 17). He was fifty eight years old and nearing the height of his fame. It was both a challenging gesture and a typically brave response to professional and private adversity. Originally the embracing couple in The Kiss had been envisaged on a much smaller scale to take their place on a massive pair of doors commissioned from the French government for a projected new museum of decorative art. Rodin had been working on the doors, known as The Gates of Hell (p. 6), for almost twenty years; but by 1898 it had become clear that the museum would not be built. That year, Rodin enlarged the couple massively in marble for the Salon.
The Balzac sculpture was another failed public monument, initially commissioned by a literary society in 1891 to commemorate the titanic nineteenth-century writer. After seven years of preparatory study, Rodin had decided to exhibit the work to reassure his critics that the project was nearing completion. When the committee responsible for the work saw it at the Salon, roughly cast in plaster, they rejected it and terminated their contract with him.
Certainly both works, so antithetical in style, discharge conspicuous erotic energies – a
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