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Auguste Rodin 1 Auguste Rodin Auguste Rodin 1 Auguste Rodin Auguste Rodin Birth name François-Auguste-René Rodin Born 12 November 1840Paris Died 17 November 1917 (aged 77)Meudon, Île-de-France Nationality French Field Sculpture, drawing Works The Age of Bronze (L'age d'airain), 1877 The Walking Man (L'homme qui marche), 1877-78 The Burghers of Calais (Les Bourgeois de Calais), 1889 The Kiss, 1889 The Thinker (Le Penseur), 1902 Awards Légion d'Honneur François-Auguste-René Rodin (12 November 1840 – 17 November 1917), known as Auguste Rodin (English pronunciation: /oʊˈɡuːst roʊˈdæn/ oh-goost roh-dan, French pronunciation: [ogyst ʁɔdɛ̃]), was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture,[1] he did not set out to rebel against the past. He was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition,[2] although he was never accepted into Paris's foremost school of art. Sculpturally, Rodin possessed a unique ability to model a complex, turbulent, deeply pocketed surface in clay. Many of his most notable sculptures were roundly criticized during his lifetime. They clashed with the predominant figure sculpture tradition, in which works were decorative, formulaic, or highly thematic. Rodin's most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, and celebrated individual character and physicality. Rodin was sensitive of the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community. From the unexpected realism of his first major figure—inspired by his 1875 trip to Italy—to the unconventional memorials whose commissions he later sought, Rodin's reputation grew, such that he became the preeminent French sculptor of his time. By 1900, he was a world-renowned artist. Wealthy private clients sought Rodin's work after his World's Fair exhibit, and he kept company with a variety of high-profile intellectuals and artists. He married his life-long companion, Rose Beuret, in the last year of both their lives. His sculpture 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. Auguste Rodin 2 Biography Formative years 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,[3] and began to draw at age ten. Between ages 14 and 17, Rodin 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. Rodin Rodin's signature on The Thinker still expressed appreciation for his teacher much later in life.[4] There he first met Jules Dalou and Alphonse Legros. Rodin submitted a clay model of a companion to the Grand École in 1857 in an attempt to win entrance; he did not succeed, and two further applications were also denied.[5] Given that entrance requirements at the Grand École were not particularly high,[6] the rejections were considerable setbacks. Rodin's inability to gain entrance may have been due to the judges' Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. Leaving the Petite École in 1857, Rodin would earn a living as a craftsman and ornamenter for most of the next two decades, producing decorative objects and architectural embellishments. Rodin's sister Maria, two years his senior, died of peritonitis in a convent in 1862. Her brother was anguished, and felt guilty because he had introduced Maria to an unfaithful suitor. Turning away from art, Rodin briefly joined a Catholic order. Father Peter Julian Eymard recognized Rodin's talent and, sensing his lack of suitability for the order, encouraged Rodin to continue with his sculpture. He returned to work as a decorator, while taking classes with animal sculptor Antoine-Louis Barye. The teacher's attention to detail—his finely rendered musculature of animals in motion—significantly influenced Rodin.[7] In 1864, Rodin began to live with a young seamstress named Rose Beuret, with whom he would stay—with ranging commitment—for the rest of his life. The couple bore a son, Auguste-Eugène Beuret (1866–1934).[8] 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 National Guard, but his service was brief due to his near-sightedness.[9] Decorators' work had dwindled because of the war, yet Rodin needed to support his family—poverty was a continual difficulty for Rodin until about the age of 30.[10] Carrier-Belleuse soon asked Rodin to join him in Belgium, where they would work on ornamentation for Brussels' bourse. Rodin planned to stay in Belgium a few months, but he spent the next six years abroad. It was a pivotal time in Rodin's life.[10] He had acquired skill and experience as a craftsman, but no one had yet seen his art, which sat in his workshop, since Rodin could not afford castings. Though his relationship with Carrier-Belleuse deteriorated, he found other employment in Brussels, displayed 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.[11] Rodin said, "It is Michelangelo who has freed me from academic sculpture."[12] Returning to Belgium, he began work on The Age of Auguste Rodin 3 Bronze, a life-size male figure whose realism brought Rodin attention but led to accusations of sculptural cheating. Artistic independence 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,[13] and would have a very limited relationship with him throughout his life. Father and son now joined the couple in their flat, with Rose as caretaker. The charges of fakery surrounding The Age of Bronze continued. Rodin increasingly sought Rodin in 1893 more soothing female companionship in Paris, and Rose stayed in the background. Rodin earned his living collaborating with more established sculptors on public commissions, primarily memorials and neo-baroque architectural pieces in the style of Carpeaux.[14] 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—now 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.[15] 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;[16] 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, the Undersecretary of the Ministry of Fine Arts, whom Rodin eventually met.[16] 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; 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 Camille Claudel (1864–1943) sculptor, assisting him on commissions. Although busy with The Gates of Hell, Rodin won other commissions. He pursued an opportunity to create a historical monument for the town of Calais. For a monument to French author Honoré de Balzac, Rodin was chosen Auguste Rodin 4 in 1891. His execution of both sculptures clashed with traditional tastes, and met with varying degrees of disapproval from the organizations that sponsored the commissions.
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