Auguste Rodin facts for kids
Quick facts for kids
Auguste Rodin
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Photograph by Beresford, 1902
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François Auguste René Rodin
12 November 1840 |
| Died | 17 November 1917 (aged 77) |
| Known for | Sculpture and drawing |
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Notable work
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| Awards | Légion d'Honneur |
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François Auguste René Rodin (12 November 1840 – 17 November 1917) was a French sculptor, generally considered the founder of modern sculpture. He is known for such sculptures as The Thinker, Monument to Balzac, The Kiss, The Burghers of Calais, and The Gates of Hell.
Many of Rodin's most notable sculptures were criticized, as they clashed with the predominant sculpture traditions. Although Rodin was sensitive to the controversy surrounding his work, he refused to change his style, and his continued output brought increasing favor from the government and the artistic community.
His sculptures suffered a decline in popularity after his death in 1917, but within a few decades his legacy solidified. Rodin remains one of the few sculptors widely known outside the visual arts community.
Contents
Biography
Rodin was born in 1840 into a working-class family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin, who was a police department clerk. He was largely self-educated, and began to draw at age 10. Between ages 14 and 17, he attended the Petite École, a school specializing in art and mathematics where he studied drawing and painting. His drawing teacher Horace Lecoq de Boisbaudran believed in first developing the personality of his students so that they observed with their own eyes and drew from their recollections, and Rodin expressed appreciation for his teacher much later in life.
In 1864, Rodin began to live with a young seamstress named Rose Beuret (born in June 1844), with whom he stayed for the rest of his life, with varying commitment. The couple had a son named Auguste-Eugène Beuret (1866–1934). That year, Rodin offered his first sculpture for exhibition and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets d'art. Rodin worked as Carrier-Belleuse' chief assistant until 1870, designing roof decorations and staircase and doorway embellishments. With the arrival of the Franco-Prussian War, Rodin was called to serve in the French National Guard, but his service was brief due to his near-sightedness. Decorators' work had dwindled because of the war, yet Rodin needed to support his family, as poverty was a continual difficulty for him until about the age of 30. Carrier-Belleuse soon asked him to join him in Belgium, where they worked on ornamentation for the Brussels Stock Exchange.
Rodin planned to stay in Belgium a few months, but he spent the next six years outside of France. It was a pivotal time in his life. He had acquired skill and experience as a craftsman, but no one had yet seen his art, which sat in his workshop since he could not afford castings. His relationship with Carrier-Belleuse had deteriorated, but he found other employment in Brussels, displaying some works at salons, and his companion Rose soon joined him there. Having saved enough money to travel, Rodin visited Italy for two months in 1875, where he was drawn to the work of Donatello and Michelangelo. Their work had a profound effect on his artistic direction. Rodin said, "It is Michelangelo who has freed me from academic sculpture."
Returning to Belgium, he began work on The Age of Bronze, a life-size male figure whose naturalism brought Rodin attention but led to accusations of sculptural cheating – its naturalism and scale was such that critics alleged he had cast the work from a living model.
Rose Beuret and Rodin returned to Paris in 1877, moving into a small flat on the Left Bank. Misfortune surrounded Rodin: his mother, who had wanted to see her son marry, was dead, and his father was blind and senile, cared for by Rodin's sister-in-law, Aunt Thérèse. Rodin's eleven-year-old son Auguste, possibly developmentally delayed, was also in the ever-helpful Thérèse's care. Rodin had essentially abandoned his son for six years, and would have a very limited relationship with him throughout his life. Father and son joined the couple in their flat, with Rose as caretaker.
Rodin earned his living collaborating with more established sculptors on public commissions, primarily memorials and neo-baroque architectural pieces in the style of Carpeaux. In competitions for commissions he submitted models of Denis Diderot, Jean-Jacques Rousseau, and Lazare Carnot, all to no avail. On his own time, he worked on studies leading to the creation of his next important work, St. John the Baptist Preaching.
In 1880, Carrier-Belleuse – then art director of the Sèvres national porcelain factory – offered Rodin a part-time position as a designer. The offer was in part a gesture of reconciliation, and Rodin accepted. That part of Rodin which appreciated 18th-century tastes was aroused, and he immersed himself in designs for vases and table ornaments that brought the factory renown across Europe.
The artistic community appreciated his work in this vein, and Rodin was invited to Paris Salons by such friends as writer Léon Cladel. During his early appearances at these social events, Rodin seemed shy; in his later years, as his fame grew, he displayed the loquaciousness and temperament for which he is better known. French statesman Leon Gambetta expressed a desire to meet Rodin, and the sculptor impressed him when they met at a salon. Gambetta spoke of Rodin in turn to several government ministers, likely including Edmund Turquet [fr], the Undersecretary of the Ministry of Fine Arts, whom Rodin eventually met.
Rodin's relationship with Turquet was rewarding: through him, he won the 1880 commission to create a portal for a planned museum of decorative arts. Rodin dedicated much of the next four decades to his elaborate Gates of Hell, an unfinished portal for a museum that was never built. Many of the portal's figures became sculptures in themselves, including Rodin's most famous, The Thinker and The Kiss. With the museum commission came a free studio, granting Rodin a new level of artistic freedom. Soon, he stopped working at the porcelain factory in 1882; his income came from private commissions.
In 1883, Rodin agreed to supervise a course for sculptor Alfred Boucher in his absence, where he met the 18-year-old Camille Claudel. The two formed a passionate but stormy relationship and influenced each other artistically. Claudel inspired Rodin as a model for many of his figures, and she was a talented sculptor, assisting him on commissions as well as creating her own works. Her Bust of Rodin was displayed to critical acclaim at the 1892 Salon.
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Claudel and Rodin parted in 1898.
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By 1900, Rodin's artistic reputation was established. Gaining exposure from a pavilion of his artwork set up near the 1900 World's Fair (Exposition Universelle) in Paris, he received requests to make busts of prominent people internationally, while his assistants at the atelier produced duplicates of his works. His income from portrait commissions alone totaled probably 200,000 francs a year. As Rodin's fame grew, he attracted many followers, including the German poet Rainer Maria Rilke, and authors Octave Mirbeau, Joris-Karl Huysmans, and Oscar Wilde.
Rilke stayed with Rodin in 1905 and 1906, and did administrative work for him; he would later write a laudatory monograph on the sculptor. Rodin and Beuret's modest country estate in Meudon, purchased in 1897, was a host to such guests as King Edward, dancer Isadora Duncan, and harpsichordist Wanda Landowska. A British journalist who visited the property noted in 1902 that in its complete isolation, there was "a striking analogy between its situation and the personality of the man who lives in it".
After the start of the 20th century, Rodin was a regular visitor to Great Britain, where he developed a loyal following by the beginning of the First World War.
Through Henley, Rodin met Robert Louis Stevenson and Robert Browning, in whom he found further support. Encouraged by the enthusiasm of British artists, students, and high society for his art, Rodin donated a significant selection of his works to the nation in 1914.
After the revitalization of the Société Nationale des Beaux-Arts in 1890, Rodin served as the body's vice-president. In 1903, Rodin was elected president of the International Society of Painters, Sculptors, and Engravers. He replaced its former president, James Abbott McNeill Whistler, upon Whistler's death.
During his later creative years, Rodin's work turned increasingly toward the female form. He concentrated on small dance studies, and produced numerous drawings, sketched in a loose way, without taking his pencil from the paper or his eyes from the model.
Fifty-three years into their relationship, Rodin married Rose Beuret. They married on 29 January 1917, and Beuret died two weeks later, on 16 February. Rodin was ill that year; in January, he suffered weakness from influenza, and on 16 November his physician announced that "congestion of the lungs has caused great weakness. The patient's condition is grave." Rodin died the next day, age 77, at his villa in Meudon, Île-de-France, on the outskirts of Paris.
A cast of The Thinker was placed next to his tomb in Meudon; it was Rodin's wish that the figure served as his headstone and epitaph. In 1923, Marcell Tirel, Rodin's secretary, published a book alleging that Rodin's death was largely due to cold, and the fact that he had no heat at Meudon. Rodin requested permission to stay in the Hotel Biron, a museum of his works, but the director of the museum refused to let him stay there.
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Rodin in 1914
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Rodin's gravesite at the Musée Rodin de Meudon
Works
The Gates of Hell
A commission to create a portal for Paris' planned Museum of Decorative Arts was awarded to Rodin in 1880. Although the museum was never built, Rodin worked throughout his life on The Gates of Hell, a monumental sculptural group depicting scenes from Dante's Inferno in high relief. Often lacking a clear conception of his major works, Rodin compensated with hard work and a striving for perfection.
The Gates of Hell comprised 186 figures in its final form. Many of Rodin's best-known sculptures started as designs of figures for this composition, such as The Thinker, The Three Shades, and The Kiss, and were only later presented as separate and independent works. Other well-known works derived from The Gates are Ugolino, Fallen Caryatid Carrying her Stone, Fugit Amor, She Who Was Once the Helmet-Maker's Beautiful Wife, The Falling Man, and The Prodigal Son.
The Thinker
The Thinker (originally titled The Poet, after Dante) was to become one of the best-known sculptures in the world. The original was a 27.5-inch (700 mm) high bronze piece created between 1879 and 1889, designed for the Gates' lintel, from which the figure would gaze down upon Hell. While The Thinker most obviously characterizes Dante, aspects of the Biblical Adam, the mythological Prometheus, and Rodin himself have been ascribed to him. Other observers de-emphasize the apparent intellectual theme of The Thinker, stressing the figure's rough physicality and the emotional tension emanating from it.
The Burghers of Calais
The town of Calais had contemplated a historical monument for decades when Rodin learned of the project. He pursued the commission, interested in the medieval motif and patriotic theme. The mayor of Calais was tempted to hire Rodin on the spot upon visiting his studio, and soon the memorial was approved, with Rodin as its architect. It would commemorate the six townspeople of Calais who offered their lives to save their fellow citizens.
During the Hundred Years' War, the army of King Edward III besieged Calais, and Edward ordered that the town's population be killed en masse. He agreed to spare them if six of the principal citizens would come to him prepared to die, bareheaded and barefooted and with ropes around their necks. When they came, he ordered that they be executed, but pardoned them when his queen, Philippa of Hainault, begged him to spare their lives. The Burghers of Calais depicts the men as they are leaving for the king's camp, carrying keys to the town's gates and citadel.
Rodin began the project in 1884, inspired by the chronicles of the siege by Jean Froissart. Though the town envisioned an allegorical, heroic piece centered on Eustache de Saint-Pierre, the eldest of the six men, Rodin conceived the sculpture as a study in the varied and complex emotions under which all six men were laboring. One year into the commission, the Calais committee was not impressed with Rodin's progress. Rodin indicated his willingness to end the project rather than change his design to meet the committee's conservative expectations, but Calais said to continue.
In 1889, The Burghers of Calais was first displayed to general acclaim. It is a bronze sculpture weighing two short tons (1,814 kg), and its figures are 6.6 ft (2.0 m) tall. The six men portrayed do not display a united, heroic front; rather, each is isolated from his brothers, individually deliberating and struggling with his expected fate. It is one of Rodin's best-known and most acclaimed works.
Monument to Balzac
The Société des Gens des Lettres, a Parisian organization of writers, planned a monument to French novelist Honoré de Balzac immediately after his death in 1850. The society commissioned Rodin to create the memorial in 1891, and Rodin spent years developing the concept for his sculpture. The realized sculpture displays Balzac cloaked in the drapery, looking forcefully into the distance with deeply gouged features. Rodin's intent had been to show Balzac at the moment of conceiving a work – to express courage, labor, and struggle.
When Monument to Balzac was exhibited in 1898, the negative reaction was not surprising. The Société rejected the work, and the press ran parodies.
The monument had its supporters in Rodin's day; a manifesto defending him was signed by Monet, Debussy, and future Premier Georges Clemenceau, among many others. In the BBC series Civilisation, art historian Kenneth Clark praised the monument as "the greatest piece of sculpture of the 19th Century, perhaps, indeed, the greatest since Michelangelo." Rather than try to convince skeptics of the merit of the monument, Rodin repaid the Société his commission and moved the figure to his garden. After this experience, Rodin did not complete another public commission. Only in 1939 was Monument to Balzac cast in bronze and placed on the Boulevard du Montparnasse at the intersection with Boulevard Raspail.
Other works
The popularity of Rodin's most famous sculptures tends to obscure his total creative output. A prolific artist, he created thousands of busts, figures, and sculptural fragments over more than five decades. He painted in oils (especially in his thirties) and in watercolors. The Musée Rodin holds 7,000 of his drawings and prints, in chalk and charcoal, and thirteen vigorous drypoints. He also produced a single lithograph.
Portraiture was an important component of Rodin's oeuvre, helping him to win acceptance and financial independence. His first sculpture was a bust of his father in 1860, and he produced at least 56 portraits between 1877 and his death in 1917. Early subjects included fellow sculptor Jules Dalou (1883) and companion Camille Claudel (1884).
Later, with his reputation established, Rodin made busts of prominent contemporaries such as English politician George Wyndham (1905), Irish playwright George Bernard Shaw (1906), socialist (and former mistress of the Prince of Wales who became King Edward VII) Countess of Warwick (1908), Austrian composer Gustav Mahler (1909), former Argentine president Domingo Faustino Sarmiento and French statesman Georges Clemenceau (1911).
Method
Instead of copying traditional academic postures, Rodin preferred his models to move naturally around his studio. The sculptor often made quick sketches in clay that were later fine-tuned, cast in plaster, and cast in bronze or carved from marble. Rodin's focus was on the handling of clay.
George Bernard Shaw sat for a portrait and gave an idea of Rodin's technique: "While he worked, he achieved a number of miracles. At the end of the first fifteen minutes, after having given a simple idea of the human form to the block of clay, he produced by the action of his thumb a bust so living that I would have taken it away with me to relieve the sculptor of any further work."
He described the evolution of his bust over a month, passing through "all the stages of art's evolution": first, a "Byzantine masterpiece", then "Bernini intermingled", then an elegant Houdon. "The hand of Rodin worked not as the hand of a sculptor works, but as the work of Elan Vital. The Hand of God is his own hand."
After he completed his work in clay, he employed highly skilled assistants to re-sculpt his compositions at larger sizes (including any of his large-scale monuments such as The Thinker), to cast the clay compositions into plaster or bronze, and to carve his marbles. Rodin's major innovation was to capitalize on such multi-staged processes of 19th century sculpture and their reliance on plaster casting.
Since clay deteriorates rapidly if not kept wet or fired into a terra-cotta, sculptors used plaster casts as a means of securing the composition they would make from the fugitive material that is clay. This was common practice amongst Rodin's contemporaries, and sculptors would exhibit plaster casts with the hopes that they would be commissioned to have the works made in a more permanent material. Rodin, however, would have multiple plasters made and treat them as the raw material of sculpture, recombining their parts and figures into new compositions, and new names.
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The Shade (1880–81), High Museum of Art, Atlanta
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A plaster of The Age of Bronze
Legacy
Rodin willed to the French state his studio and the right to make casts from his plasters. Because he encouraged the edition of his sculpted work, Rodin's sculptures are represented in many public and private collections. The Musée Rodin was founded in 1916 and opened in 1919 at the Hôtel Biron, where Rodin had lived, and it holds the largest Rodin collection, with more than 6,000 sculptures and 7,000 works on paper. The French order Légion d'honneur made him a Commander, and he received an honorary doctorate from the University of Oxford.
During his lifetime, Rodin was compared to Michelangelo, and was widely recognized as the greatest artist of the era. In the three decades following his death, his popularity waned with changing aesthetic values. Since the 1950s, Rodin's reputation has re-ascended; he is recognized as the most important sculptor of the modern era, and has been the subject of much scholarly work. The sense of incompletion offered by some of his sculpture, such as The Walking Man, influenced the increasingly abstract sculptural forms of the 20th century.
Rodin restored an ancient role of sculpture – to capture the physical and intellectual force of the human subject – and he freed sculpture from the repetition of traditional patterns, providing the foundation for greater experimentation in the 20th century. His popularity is ascribed to his emotion-laden representations of ordinary men and women – to his ability to find the beauty and pathos in the human animal. His most popular works, such as The Kiss and The Thinker, are widely used outside the fine arts as symbols of human emotion and character. To honor Rodin's artistic legacy, the Google search engine homepage displayed a Google Doodle featuring The Thinker to celebrate his 172nd birthday on 12 November 2012.
Rodin had enormous artistic influence. A whole generation of sculptors studied in his workshop. These include Gutzon Borglum, Antoine Bourdelle, Constantin Brâncuși, Camille Claudel, Charles Despiau, Malvina Hoffman, Carl Milles, François Pompon, Rodo, Gustav Vigeland, Clara Westhoff and Margaret Winser, even though Brancusi later rejected his legacy. Rodin also promoted the work of other sculptors, including Aristide Maillol and Ivan Meštrović whom Rodin once called "the greatest phenomenon amongst sculptors." Other sculptors whose work has been described as owing to Rodin include Joseph Csaky, Alexander Archipenko, Joseph Bernard, Henri Gaudier-Brzeska, Georg Kolbe, Wilhelm Lehmbruck, Jacques Lipchitz, Pablo Picasso, Adolfo Wildt, and Ossip Zadkine. Henry Moore acknowledged Rodin's seminal influence on his work.
Several films have been made featuring Rodin as a prominent character or presence. These include Camille Claudel, a 1988 film in which Gérard Depardieu portrays Rodin, Camille Claudel 1915 from 2013, and Rodin, a 2017 film starring Vincent Lindon as Rodin. Furthermore, the Rodin Studios artists' cooperative housing in New York City, completed in 1917 to designs by Cass Gilbert, was named after Rodin.
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Rodin's signature on The Thinker
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The grounds of Musée Rodin
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Rodin Museum, Philadelphia, Pennsylvania
See also
In Spanish: Auguste Rodin para niños
- List of sculptures by Auguste Rodin
