9781844849062: Best of Auguste Rodin

Synopsis

 

Influenced by both the masters of Antiquity, the genius of Michelangelo and Baroque sculpture, notably 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 realistic qualities. His most original works departed from traditional themes of mythology and allegory and embraced the human body, celebrated individualism and physicality.
 

This book uncovers the life and career of this celebrated artist by exploring his most famous works of art such as the Gates of Hell, The Thinker and the infamous The Kiss.

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Product Description

Rare Book

Review

Combining Daniel Slagers's elegant translation from the German of Rilke's writings on Rodin with Michael Eastman's photographs of Rodin's sculptures, Auguste Rodin offers a fresh look at an unlikely mentorship. --The New York Times Book Review

Brilliant and subtle but richly colored new photographs of Rodin's sculptures by Michael Eastman make this new translation of Rilke's classic meditation on Auguste Rodin a feast for the eye and mind. National Book Critics Circle Award winner Wiliam Gass examines the text and the setting to provide insight and context. Fine writing, beautiful images, and exciting ideas make this edition of Rilke's Auguste Rodin a real treat. --R.K. Dickson

Poets and the visual arts--it is a vast subject; and all through the twentieth century artists and writers collaborated almost constantly, sometimes with such intensity that it seemed as if they were passing back and forth a single flask labeled 'Inspiration.' Few poets have written more eloquently about the visual arts than Rilke, and one of the most beautiful books of the year is his Auguste Rodin (Archipelago Books, $30), translated by Daniel Slager, with photographs by Michael Eastman, which bring us close to the charged surfaces of Rodin's bronzes, and catch their storm-tossed intensity. Rodin was at times a disturbingly bombastic artist--while his Gates of Hell may be the work of a genius, it is also pure kitsch--but in the years just after 1900, when Rilke got to know him, the avant-garde was still inclined to embrace Rodin as a rough-hewn visionary, a man in whose studio, as Rilke wrote, 'everything was becoming, but nothing was in a hurry.' For Rilke, both Rodin and Cezanne suggested, through the very physicality of their labors, a route beyond fin-de-siecle preciosity. Rilke discovered in Rodin a man who was utterly committed to the materiality of the artistic vocation. Rodin taught Rilke to make his feelings concrete. --Ruth Franklin

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