Rodin Works: Eternal Idol, The Host, Creation |
The sculpture shows a kneeling man leaning his chest against a woman depicted in an elevated position. Judith Cladel quotes an anecdote provided by Jules Desbois, who related how Rodin once lovingly kissed one of his models on her bare belly - 'Eternal Idol' seems to reflect this affectionate gesture. The same mixture of worship and intimacy can be found in 'Pygmalion and Galatea', which also portrays the male figure in a lower position looking up to his beloved. There is also a striking ressemblance to 'Sakountala'* created by Camille Claudel as early as 1887/88 ; probably, Rodin was inspired by this work of his younger colleague and lover. At the same time, the motif of both works seems to reflect an important aspect of the passionate relationship between the sculptor and his talented pupil. Contemporaries like the Swiss poet and critic Matthias Morhardt, who knew both quite intimately, on more than one occasion reported that the famous artist, who was 24 years older than Camille, sometimes encountered her with helpless admiration. The work is also known under the title 'The Host' (La Hostie) which associates the veneration of Christ's body with the erotic adoration of the female appearance and connects this group with a similar work, 'The Man and his Thought' (1896), for which the same name was used. Antoinette Le Norman-Romain mentions a third title, 'Creation', and claims the pair represents no other than Adam and Eve. Plaster versions exist in the Musée Rodin, the Maryhill Museum and in the Spreckels Collection San Francisco; these plasters were drawn from a marble version in the collection Thyssen-Bornemisza. *also named 'Surrender' or 'Vertumnus and Pomona'
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