Thread: Auguste Rodin (1840-1917) the French artist & the most important sculptor of his time died on this day. Many of his works are world famous, including The Thinker. His realistic & expressive figures changed the history of art. Let’s view them together!
Born in Paris, he attended the Petite École (1854-7) where he met Dalou & Legros. Later he took classes with Barye & has his first exhibit in 1866. Man with Broken Nose (1863-4). The sitter’s physiognomy would have been v attractive to Rodin love of realism
Born in Paris, he attended the Petite École (1854-7) where he met Dalou & Legros. Later he took classes with Barye & has his first exhibit in 1866. Man with Broken Nose (1863-4). The sitter’s physiognomy would have been v attractive to Rodin love of realism
Born in Paris, he attended the Petite École (1854-7) where he met Dalou & Legros. Later he took classes with Barye & has his first exhibit in 1866. Man with Broken Nose (1863-4). The sitter’s physiognomy would have been v attractive to Rodin love of realism
Born in Paris, he attended the Petite École (1854-7) where he met Dalou & Legros. Later he took classes with Barye & has his first exhibit in 1866. Man with Broken Nose (1863-4). The sitter’s physiognomy would have been v attractive to Rodin love of realism
Here’s an overview of my artwork. I have an Affordable Art Project because I believe everyone should have great art in their homes. Take a look! https://twitter.com/robertbohan/status/1328716040080154628
Whereas his Broken Nose was an avant-garde realist work, the contemporary taste was more sentimental as seen in his Young Girl with Roses on her Hat (1865-70). Clearly Rodin struggled with such Victorian portraiture. He could only be himself & reworked her (1870)
Whereas his Broken Nose was an avant-garde realist work, the contemporary taste was more sentimental as seen in his Young Girl with Roses on her Hat (1865-70). Clearly Rodin struggled with such Victorian portraiture. He could only be himself & reworked her (1870)
Whereas his Broken Nose was an avant-garde realist work, the contemporary taste was more sentimental as seen in his Young Girl with Roses on her Hat (1865-70). Clearly Rodin struggled with such Victorian portraiture. He could only be himself & reworked her (1870)
He helped in an artist’s studio from 1866-70. He was then called up for the Franco-Prussian War. He left to work on decoration of the Brussels Stock Exchange (& stayed 6y). Young Girl (c1868), Young Woman with Infant (1870-5) & Suzon (1872)
He helped in an artist’s studio from 1866-70. He was then called up for the Franco-Prussian War. He left to work on decoration of the Brussels Stock Exchange (& stayed 6y). Young Girl (c1868), Young Woman with Infant (1870-5) & Suzon (1872)
He helped in an artist’s studio from 1866-70. He was then called up for the Franco-Prussian War. He left to work on decoration of the Brussels Stock Exchange (& stayed 6y). Young Girl (c1868), Young Woman with Infant (1870-5) & Suzon (1872)
He helped in an artist’s studio from 1866-70. He was then called up for the Franco-Prussian War. He left to work on decoration of the Brussels Stock Exchange (& stayed 6y). Young Girl (c1868), Young Woman with Infant (1870-5) & Suzon (1872)
In 1875, Rodin visited Italy & was inspired by Donatello & Michelangelo. On his return he began to work on his early masterpiece, The Age of Bronze (1876). Such was the realism of the work he was accused of having just taken a cast of the Belgian soldier!
In 1875, Rodin visited Italy & was inspired by Donatello & Michelangelo. On his return he began to work on his early masterpiece, The Age of Bronze (1876). Such was the realism of the work he was accused of having just taken a cast of the Belgian soldier!
In 1875, Rodin visited Italy & was inspired by Donatello & Michelangelo. On his return he began to work on his early masterpiece, The Age of Bronze (1876). Such was the realism of the work he was accused of having just taken a cast of the Belgian soldier!
In 1875, Rodin visited Italy & was inspired by Donatello & Michelangelo. On his return he began to work on his early masterpiece, The Age of Bronze (1876). Such was the realism of the work he was accused of having just taken a cast of the Belgian soldier!
He returned to Paris in 1877 & made his living by working with established sculptors on decorative schemes. In his own time he worked on his St John the Baptist (1878-80)
He returned to Paris in 1877 & made his living by working with established sculptors on decorative schemes. In his own time he worked on his St John the Baptist (1878-80)
He returned to Paris in 1877 & made his living by working with established sculptors on decorative schemes. In his own time he worked on his St John the Baptist (1878-80)
He returned to Paris in 1877 & made his living by working with established sculptors on decorative schemes. In his own time he worked on his St John the Baptist (1878-80)
In 1880 he worked at the Sèvres porcelain factory which appealed to his taste for 18th C work. He won the competition to design the portal which resulted in the astounding Gates of Hell (1880-1917) & The Call to Arms (1879)
In 1880 he worked at the Sèvres porcelain factory which appealed to his taste for 18th C work. He won the competition to design the portal which resulted in the astounding Gates of Hell (1880-1917) & The Call to Arms (1879)
In 1880 he worked at the Sèvres porcelain factory which appealed to his taste for 18th C work. He won the competition to design the portal which resulted in the astounding Gates of Hell (1880-1917) & The Call to Arms (1879)
In 1880 he worked at the Sèvres porcelain factory which appealed to his taste for 18th C work. He won the competition to design the portal which resulted in the astounding Gates of Hell (1880-1917) & The Call to Arms (1879)
The Gates of Hell (1880) inspired a number of masterpieces including The Kiss & The Thinker (1879-89). The latter has become a symbol in pop culture due to the power of the pose Rodin chose.
The Gates of Hell (1880) inspired a number of masterpieces including The Kiss & The Thinker (1879-89). The latter has become a symbol in pop culture due to the power of the pose Rodin chose.
The Gates of Hell (1880) inspired a number of masterpieces including The Kiss & The Thinker (1879-89). The latter has become a symbol in pop culture due to the power of the pose Rodin chose.
The Gates of Hell (1880) inspired a number of masterpieces including The Kiss & The Thinker (1879-89). The latter has become a symbol in pop culture due to the power of the pose Rodin chose.
The Gates of Hell (1880) inspired a number of masterpieces including The Kiss & The Thinker (1879-89). The latter has become a symbol in pop culture due to the power of the pose Rodin chose.
Rodin used the human form in such a way as to express emotion through form & texture. His ability to work with his media was astounding. Eve (1881), Love Fleeing (1881) & Shade (1881)
Rodin used the human form in such a way as to express emotion through form & texture. His ability to work with his media was astounding. Eve (1881), Love Fleeing (1881) & Shade (1881)
Rodin used the human form in such a way as to express emotion through form & texture. His ability to work with his media was astounding. Eve (1881), Love Fleeing (1881) & Shade (1881)
Rodin used the human form in such a way as to express emotion through form & texture. His ability to work with his media was astounding. Eve (1881), Love Fleeing (1881) & Shade (1881)
Rodin used the human form in such a way as to express emotion through form & texture. His ability to work with his media was astounding. Eve (1881), Love Fleeing (1881) & Shade (1881)
One of his great masterpieces was The Shades. The use of grouped figures to suggest one powerful emotion & the sophisticated understanding of moving & co-ordinated limbs show a sculptor already at the top of his form. The Three Shades (1881)
One of his great masterpieces was The Shades. The use of grouped figures to suggest one powerful emotion & the sophisticated understanding of moving & co-ordinated limbs show a sculptor already at the top of his form. The Three Shades (1881)
One of his great masterpieces was The Shades. The use of grouped figures to suggest one powerful emotion & the sophisticated understanding of moving & co-ordinated limbs show a sculptor already at the top of his form. The Three Shades (1881)
One of his great masterpieces was The Shades. The use of grouped figures to suggest one powerful emotion & the sophisticated understanding of moving & co-ordinated limbs show a sculptor already at the top of his form. The Three Shades (1881)
Rodin looked into the stone he was carving from & allowed his subject to appear (Michelangelo used the same vision). Often he left part of the stone which gave the work extra power through contrast. Eternal Springtime (1884), Andromeda (1886), Narcissus (1885-90)
Rodin looked into the stone he was carving from & allowed his subject to appear (Michelangelo used the same vision). Often he left part of the stone which gave the work extra power through contrast. Eternal Springtime (1884), Andromeda (1886), Narcissus (1885-90)
Rodin looked into the stone he was carving from & allowed his subject to appear (Michelangelo used the same vision). Often he left part of the stone which gave the work extra power through contrast. Eternal Springtime (1884), Andromeda (1886), Narcissus (1885-90)
Rodin looked into the stone he was carving from & allowed his subject to appear (Michelangelo used the same vision). Often he left part of the stone which gave the work extra power through contrast. Eternal Springtime (1884), Andromeda (1886), Narcissus (1885-90)
With increasing experience his work evolved in terms of physicality & form. His figure of de Wiessant is magnificent & his martyr ground-breaking in its modernity for the time. Pierre de Wiessant (1885), The Martyr No 5 (1885), The Old Courtesan (1885)
With increasing experience his work evolved in terms of physicality & form. His figure of de Wiessant is magnificent & his martyr ground-breaking in its modernity for the time. Pierre de Wiessant (1885), The Martyr No 5 (1885), The Old Courtesan (1885)
With increasing experience his work evolved in terms of physicality & form. His figure of de Wiessant is magnificent & his martyr ground-breaking in its modernity for the time. Pierre de Wiessant (1885), The Martyr No 5 (1885), The Old Courtesan (1885)
With increasing experience his work evolved in terms of physicality & form. His figure of de Wiessant is magnificent & his martyr ground-breaking in its modernity for the time. Pierre de Wiessant (1885), The Martyr No 5 (1885), The Old Courtesan (1885)
The emotion he imbued his work with seemed almost on the point of exploding the marble. Faun & Nymph (c1886), Psyche-Spring, Surprised Nymph (1886), The Storm (1886-1901) & Love Fleeing (c1887-1900)
The emotion he imbued his work with seemed almost on the point of exploding the marble. Faun & Nymph (c1886), Psyche-Spring, Surprised Nymph (1886), The Storm (1886-1901) & Love Fleeing (c1887-1900)
The emotion he imbued his work with seemed almost on the point of exploding the marble. Faun & Nymph (c1886), Psyche-Spring, Surprised Nymph (1886), The Storm (1886-1901) & Love Fleeing (c1887-1900)
The emotion he imbued his work with seemed almost on the point of exploding the marble. Faun & Nymph (c1886), Psyche-Spring, Surprised Nymph (1886), The Storm (1886-1901) & Love Fleeing (c1887-1900)
The emotion he imbued his work with seemed almost on the point of exploding the marble. Faun & Nymph (c1886), Psyche-Spring, Surprised Nymph (1886), The Storm (1886-1901) & Love Fleeing (c1887-1900)
Rodin met Camille Claudel with whom he was intimate & who would be an important muse for him. Claudel (1884 & 1911) & Gwen John (nd). He also had a relationship with John (c1904 & c1906) - she never got over him.
Rodin met Camille Claudel with whom he was intimate & who would be an important muse for him. Claudel (1884 & 1911) & Gwen John (nd). He also had a relationship with John (c1904 & c1906) - she never got over him.
Rodin met Camille Claudel with whom he was intimate & who would be an important muse for him. Claudel (1884 & 1911) & Gwen John (nd). He also had a relationship with John (c1904 & c1906) - she never got over him.
Rodin met Camille Claudel with whom he was intimate & who would be an important muse for him. Claudel (1884 & 1911) & Gwen John (nd). He also had a relationship with John (c1904 & c1906) - she never got over him.
Rodin met Camille Claudel with whom he was intimate & who would be an important muse for him. Claudel (1884 & 1911) & Gwen John (nd). He also had a relationship with John (c1904 & c1906) - she never got over him.
Around this time he began work on his Burghers of Calais (1884-89) & the monumental Honoré de Balzac (1891-98). These two masterworks are landmarks in the development of modern art. Balzac is ground breaking in its presence & modernity.
Around this time he began work on his Burghers of Calais (1884-89) & the monumental Honoré de Balzac (1891-98). These two masterworks are landmarks in the development of modern art. Balzac is ground breaking in its presence & modernity.
Around this time he began work on his Burghers of Calais (1884-89) & the monumental Honoré de Balzac (1891-98). These two masterworks are landmarks in the development of modern art. Balzac is ground breaking in its presence & modernity.
Around this time he began work on his Burghers of Calais (1884-89) & the monumental Honoré de Balzac (1891-98). These two masterworks are landmarks in the development of modern art. Balzac is ground breaking in its presence & modernity.
Around this time he began work on his Burghers of Calais (1884-89) & the monumental Honoré de Balzac (1891-98). These two masterworks are landmarks in the development of modern art. Balzac is ground breaking in its presence & modernity.
Official recognition came with his invitation to judge the Paris Salon in 1889. Iris, Messenger of the Gods (1890), Brother & Sister (c1890), Minerva (1896 & 1905). Iris is as if Rodin has taken a movement & almost liberated it from the flesh.
Official recognition came with his invitation to judge the Paris Salon in 1889. Iris, Messenger of the Gods (1890), Brother & Sister (c1890), Minerva (1896 & 1905). Iris is as if Rodin has taken a movement & almost liberated it from the flesh.
Official recognition came with his invitation to judge the Paris Salon in 1889. Iris, Messenger of the Gods (1890), Brother & Sister (c1890), Minerva (1896 & 1905). Iris is as if Rodin has taken a movement & almost liberated it from the flesh.
Official recognition came with his invitation to judge the Paris Salon in 1889. Iris, Messenger of the Gods (1890), Brother & Sister (c1890), Minerva (1896 & 1905). Iris is as if Rodin has taken a movement & almost liberated it from the flesh.
Official recognition came with his invitation to judge the Paris Salon in 1889. Iris, Messenger of the Gods (1890), Brother & Sister (c1890), Minerva (1896 & 1905). Iris is as if Rodin has taken a movement & almost liberated it from the flesh.
His use of hands underlined his own role in creating new worlds of emotion & art. The Hand of God (1898), The Earth & the Moon (1899) & Thought (1895)
His use of hands underlined his own role in creating new worlds of emotion & art. The Hand of God (1898), The Earth & the Moon (1899) & Thought (1895)
His use of hands underlined his own role in creating new worlds of emotion & art. The Hand of God (1898), The Earth & the Moon (1899) & Thought (1895)
His use of hands underlined his own role in creating new worlds of emotion & art. The Hand of God (1898), The Earth & the Moon (1899) & Thought (1895)
His use of hands underlined his own role in creating new worlds of emotion & art. The Hand of God (1898), The Earth & the Moon (1899) & Thought (1895)
Rodin’s use of marble belies the hardness of the stone in creating figures that emerge from it with tangible human emotion. The Spirit of the Spring (1903), Psyche, Pomona (c1905) & Romeo & Juliet (1905)
Rodin’s use of marble belies the hardness of the stone in creating figures that emerge from it with tangible human emotion. The Spirit of the Spring (1903), Psyche, Pomona (c1905) & Romeo & Juliet (1905)
Rodin’s use of marble belies the hardness of the stone in creating figures that emerge from it with tangible human emotion. The Spirit of the Spring (1903), Psyche, Pomona (c1905) & Romeo & Juliet (1905)
Rodin’s use of marble belies the hardness of the stone in creating figures that emerge from it with tangible human emotion. The Spirit of the Spring (1903), Psyche, Pomona (c1905) & Romeo & Juliet (1905)
In work after work Rodin indicates the fertility of his conception & the genius of his vision. Adam (1910), Icarus Falling (c1910), the Large Dancer & Head of Pierre de Wissant (c1910)
In work after work Rodin indicates the fertility of his conception & the genius of his vision. Adam (1910), Icarus Falling (c1910), the Large Dancer & Head of Pierre de Wissant (c1910)
In work after work Rodin indicates the fertility of his conception & the genius of his vision. Adam (1910), Icarus Falling (c1910), the Large Dancer & Head of Pierre de Wissant (c1910)
In work after work Rodin indicates the fertility of his conception & the genius of his vision. Adam (1910), Icarus Falling (c1910), the Large Dancer & Head of Pierre de Wissant (c1910)
In work after work Rodin indicates the fertility of his conception & the genius of his vision. Adam (1910), Icarus Falling (c1910), the Large Dancer & Head of Pierre de Wissant (c1910)
Rodin broke from the conventions of sculpture in his time. He brought increased realism & emotion to his work & changed how sculpture would be made ever after. Perhaps the brilliance & emotion of his work is best seen in his series of gesturing hands.
Rodin broke from the conventions of sculpture in his time. He brought increased realism & emotion to his work & changed how sculpture would be made ever after. Perhaps the brilliance & emotion of his work is best seen in his series of gesturing hands.
Rodin broke from the conventions of sculpture in his time. He brought increased realism & emotion to his work & changed how sculpture would be made ever after. Perhaps the brilliance & emotion of his work is best seen in his series of gesturing hands.
Rodin broke from the conventions of sculpture in his time. He brought increased realism & emotion to his work & changed how sculpture would be made ever after. Perhaps the brilliance & emotion of his work is best seen in his series of gesturing hands.
Rodin broke from the conventions of sculpture in his time. He brought increased realism & emotion to his work & changed how sculpture would be made ever after. Perhaps the brilliance & emotion of his work is best seen in his series of gesturing hands.
For Irish readers, you can see some of Rodin’s greatest work in
@NGIreland @TheHughLane
- these amongst them (including a Bust of GBS)
For Irish readers, you can see some of Rodin’s greatest work in @NGIreland @TheHughLane- these amongst them (including a Bust of GBS)
For Irish readers, you can see some of Rodin’s greatest work in @NGIreland @TheHughLane- these amongst them (including a Bust of GBS)
For Irish readers, you can see some of Rodin’s greatest work in @NGIreland @TheHughLane- these amongst them (including a Bust of GBS)
For Irish readers, you can see some of Rodin’s greatest work in @NGIreland @TheHughLane- these amongst them (including a Bust of GBS)
Here’s an overview of some of my work. I have a special offer for Christmas where when you buy one of my original drawings I’ll include one free that you choose. Please note some works may already have sold. https://twitter.com/robertbohan/status/1328789756331880451
You can follow @RobertBohan.
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