|
|
|
 |
1860:
BUST OF JEAN-BAPTISTE RODIN |
"...Rodin shows his father like a republican from Roman
Times..." |
 |
1863:
FATHER EYMARD |
"...bordered by swelling masses of hair,
adding an association of mephistolean mischief..." |
 |
1863:
MASK OF THE MAN W. THE BROKEN NOSE |
"...What is commonly called ugliness in nature
can in art become full of great beauty...." |
 |
1967:
MIGNON |
"Rodin shows Rose's face with hollowed irises
and with parted lips..." |
 |
1875:
THE AGE OF BRONZE
|
"...they insist on saying it was modelled from
life [...] . I am demoralized, I am exhausted..." |
 |
1876:
UGOLINO AND HIS SONS |
"...Racked with hunger, he ate the flesh of
his sons as last survivor...." |
 |
1877:
BELLONA |
"...portrait of Rose known as 'Mignon' in his
outline for a statue of the Republic..." |
 |
1878:
sT. JOHN THE BAPTIST PREACHING |
"...it was again the personality of the model
that inspired Rodin for the Baptist..." |
|
1879:
VASE OF TITANS & OTHER SÈVRES VASES |
|
 |
1880:
CROUCHING WOMAN |
"...celebrated as one of the artist's
most audacious achievements in sculpture form..." |
 |
1880:
FALLING MAN |
"Je suis belle, ô mortels! comme un rêve de
pierre..." |
 |
1880:
THE GATES OF HELL |
"...he continued working on the 'Gates of
Hell' over nearly 40 years..." |
 |
1880:
THE KISS |
"...The embrace of The Kiss is
undoubtedly very attractive..." |
 |
1880:
THE THINKER |
"...there are over 20 examples of the colossal
bronze cast, placed in cities all over the world..." |
 |
1880:
THE TORSO OF ADELE |
"...the sculpture is often interpreted as one
of Rodin's most explicit hommages to female sexuality..." |
 |
1881:
ADAM AND EVE |
"...Rodin proposed to Turquet to flank the
'Gates of Hell' by two colossal figures: Adam and Eve..." |
 |
1881:
AVARICE AND LUST |
"...still the whole composition transmits a
mood of breathless sexual tension..." |
 |
1881:
CARYATID |
"...from a merely decorative, architectural
element transformed into a personification of destiny..." |
 |
1881:
THE THREE SHADES |
"...focussing in the same point, underlines
the inevitability of fate..." |
 |
1882:
DAMNED WOMEN, METAMORPHOSES |
"...presentation of female homosexuality, now
ennobled by the reference to the great Roman poet..." |
 |
1882:
KNEELING FAUNESS, TOILETTE OF VENUS |
"The juxtaposition of the two women had
evolved from the sculptor's urge to populate his..." |
 |
1884:
THE BURGHERS OF CALAIS |
"...he placed the six men on the same
level, each of them occupied by his own personal
conflict..." |
 |
1884:
ETERNAL SPRINGTIME |
"...To simplify the casting in bronze, a
version with added attributes ... was used as a model in the
foundry..." |
 |
1884:
FUGIT AMOT, HEAD OF SORROW |
"...he exaggerated the tension of his muscles
to underline the misery of the male figure..." |
 |
1884:
Paolo and Francesca |
"...Paolo's head is used several times in 'The
Gates of Hell' and known as 'Head of Sorrow' as an isolated
fragment..." |
 |
1884:
THE HELMETMAKER'S BEAUTIFUL WIFE |
"...fascinated by the inevitable decline of
human beings with its different mouldings of ugliness and
personality..." |
 |
1884:
BUST OF MADAME VICUNA |
"...Rodin perfectly captures the spirit of the
fashionable and chic ladys of these times..." |
 |
1885:
ANDROMEDA |
"...the daughter of the Ethiopian king Cepheus
who was married to Cassiopeia. As narrated by
Appollodorus..." |
 |
1885:
DANAID |
"...the wave-like sweep of her back which
seems to be continued in the stone..." |
 |
1885:
DESPAIR |
|
 |
1885:
MARTYR |
"...Finally, we find 'The Martyr' back in
'Orpheus and the Furies'." |
 |
1885:
MEDITATION, INNER VOICE |
"...Rodin's statues without arms lack nothing
essential to them." |
 |
1886:
PRODIGAL SON |
"...crying out his misery in a moment of
despair and doubt, begging for forgiveness..." |
 |
1886:
THE SPHINX, SUCCUBUS |
"...the forward impetus of the body not only
gave the work a dynamic effect, but..." |
 |
1886:
THE THOUGHT, FAREWELL |
"Don't do anything more, leave it like
that!" |
 |
1888:
THE SIRENS |
"...the three sisters were a mixture of bird
and woman and famous for their seductive songs..." |
 |
1889:
THE ETERNAL IDOL |
"...a kneeling man leaning his chest against a
woman depicted in an elevated position..." |
 |
1889:
monument to victor hugo |
"...Rodin's first draft shows the nude poet,
listening to the three muses surrounding him..." |
 |
1890:
Iris, the messenger of gods |
"...integrated in the second outline for the
'Monument to Victor Hugo' as personification of glory..." |
 |
1890:
THE TRAGIC MUSE |
|
 |
1891:
MONUMENT TO balzac |
"...preparatory studies show Balzac nude and
paunchy or athletic..." |
 |
1892:
ORPHEUS AND EURYDICE |
"...these Maeneads, also known as Furies, tore
Orpheus's body to bits and cast these into the sea..." |
 |
1894:
CHRIST AND MARY MAGDALENE |
"...The tortured body of Christ is here
consoled by the suffering figure of the Magdalen..." |
 |
1895:
THE FALLEN ANGEL |
|
 |
1895:
FALL OF ICARUS, FALL OF ILLUSION,
BROKEN
LILY |
|
|
1896:
THE POET AND LOVE, Sculptor and Muse
Man and Thought, Poet and Muse |
|
|
1898:
CuPid and Psyche |
|
 |
1898:
the hand of god |
"...isolated hands still had the complete
capacity to express emotions..." |
 |
1900:
BUST OF MADAME FENAILLE |
|
 |
1901:
THE AMERICAN ATHLETE |
"How I came to pose for him is rather
interesting; while I was attending Cambridge University in
England..." |
 |
1902:
THE BUST OF EVE FAIRFAX |
"...The second version carved by Bourdelle
satisfied Rodin and was presented to Eve Fairfax in 1907..." |
 |
1907:
MASKS OF HANAKO |
"...it was the largest number of portraits he
ever made of a single person..." |
|
1908:
Bust of Duchesse de Choiseul |
|
 |
1908:
PYGMALION |
|
 |
1910:
DANCE MOVEMENTS |
|
|
|
|
