Stanford University (July 20, 2020):
What makes Rodin’s sculptures “modern”?
The enduring appeal of Rodin, the modernity of his work, has to do with the way in which he makes visible an aesthetic of process – how, in other words, he takes traditional sculpture apart and puts it back together again in new and daring ways. Strategies of multiplication, scalability, fragmentation and recombinatory modes of assembly and display constitute some of the hallmarks of Rodin’s artistic practice.
Works by Rodin on view at the Cantor are often utilized by students and scholars from a range of disciplines, including medicine. In this moment, with outbreak of disease across the globe, what can Rodin’s works teach us about the relationship between art and nature?
It’s interesting that Rodin attracts so much attention from medical experts, especially here at Stanford, who have used his hands for diagnostic purposes. It’s true that Rodin was intensely interested in exploring pathologies of the body, especially now-discredited understandings of female hysteria. But there is also the irony that Rodin became furious after a critic accused him of making his first life-size figure through life casting, rather than modeling it himself. It should go without saying, but Rodin’s hands are not hands – not real ones, anyway – and their expressive forms don’t align neatly with the anatomical reality of hands in flesh and blood or even their more naturalistic counterparts. But the very fact that they elicit such responses demonstrates the power of art to provoke challenging questions that drive innovative paths of research that cut across disciplines, particularly in a university setting.
Alberto Giacometti is one of the most admired and sought-after sculptors of the 20th century. In this video, discover how his post-war work came to embody the ideas of Existentialism and how the influence of ancient sculpture led to the attenuated human form so emblematic of his oeuvre. Conceived in 1956-57, at the height of Giacometti’s international acclaim, ‘Femme Debout’ comes from an outstanding family collection of works from the European avant-garde.
An architectural marvel has sat incomplete in a residential corner of Barcelona since its architect, Antoni Gaudí, died during construction in 1926. For decades, La Sagrada Familia has been an example of Christian fealty and Catalan ingenuity wrought in granite and sandstone; but little could anyone have guessed that ninety-four years after Gaudí’s death a Japanese sculptor would dedicate his life to completing the architect’s colossal work…
From Christie’s online magazine (May 2020):
Rodin travelled to Italy in 1875, a trip described by the late art historian Kirk Varnedoe as, ‘one of the seminal events in modern art’.
Here, in his mid-thirties, he fell under the spell of the Renaissance master, Michelangelo. His monumental, exaggerated nude figures would have a deep and lasting influence on the artist. ‘My liberation from academicism was via Michelangelo,’ Rodin later recalled. ‘He is the bridge by which I passed from one circle to another.’
Auguste Rodin (1840-1917) is renowned for breathing life into clay, creating naturalistic, often vigorously modelled sculptures which convey intense human emotions: love, ecstasy, agony or grief. Breaking the rules of academic convention and classical idealism, Rodin ushered in a new form of highly expressive sculpture that went on to influence generations of artists that followed.
While the Denver Art Museum is temporarily closed, we are sharing this look at the Homer and Remington exhibition. Hear from DAM curators Thomas Brent Smith and Jennifer R. Henneman.
This documentary is an intimate portrait of British sculptor Phyllida Barlow during her preparation for the major survey ‘cul-de-sac’ at the Royal Academy last year. Directed by Cosima Spender, this film maps the roots of Barlow’s oeuvre, as she revisits childhood memories, domestic and urban spaces, and their subsequent role in her creative process.
Phyllida Barlow began studying at Chelsea College of Art in 1960, and went on to study and teach at Slade School of Art for more than twenty years, becoming Emerita Professor in 2009. She was elected a Royal Academician in 2011, and represented Great Britain in the 2017 Venice Biennale, where she created the ambitious installation, ‘folly’.
Watch this evolution and the artist’s influences in ‘PHYLLIDA’. ‘I want the work to be traversed in a way that your memory of it is tested, so that you keep forgetting what you’ve seen’, Barlow explains, ‘I think that is the nature of sculpture – not something that can be held as a whole image in your head, only as fragments… The spaces, the silences in between, are as much a component of the work as the thing itself.”
‘PHYLLIDA’ is produced by Hauser & Wirth, in association with Third Channel and Peacock Pictures.
Take a visual journey into the mind of Michelangelo, a painter, sculptor, architect, draftsman, and one of the most creative and influential artists in the history of Western art. See how he used drawings to create, explore, and prepare for some of his most famous works of art. Produced for the J. Paul Getty Museum’s exhibition, “Michelangelo: Mind of the Master.” https://www.getty.edu/art/exhibitions…
John Swarbrooke from Dickinson Gallery explains the beauty and play of light behind the cast of Auguste Rodin’s Eve.
François Auguste René Rodin (12 November 1840 – 17 November 1917) was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, 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, although he was never accepted into Paris’s foremost school of art.
Eve is a nude sculpture by the French artist Auguste Rodin. It shows Eve despairing after the Fall.
n 1880 Rodin was commissioned to produce The Gates of Hell, for which he exhibited Adam at the 1881 Paris Salon. In a sketch for Gates Rodin showed a central silhouette possibly intended as Eve (both the sketch and Gates are now in the Musée Rodin), but in October 1881 he decided to produce Eve as a pair for Adam, with the two sculptures flanking a huge high-relief bas-relief. This would be the first free-standing female sculpture he had produced since the destruction of his Bacchante in an accident between 1864 and 1870. He began Eve in 1881, later abandoning his intended colossal version of it when he realised his model, probably Adèle Abruzzesi, was pregnant. It was first exhibited to the public at the 1899 Paris Salon. It shows a strong influence from Michelangelo, picked up by Rodin in Italy in 1876.
He also produced an autograph white marble version in 1884 (now in the Museo Soumaya in Mexico City), a version in patinated plaster and a much-reproduced 71 cm high bronze version in 1883 (known as the Petite Ève or Little Eve, whose original is also in the Musée Rodin in Paris). He also reused the same figure of Eve in his marble Eve and the Serpent (1901) and his plaster Adam and Eve (1884).
In this episode of The Way I See It, our radio collaboration with BBC, we’ve captured composer Steve Reich’s audible awe as he sees his friend Richard Serra’s monumental 2015 sculpture Equal for the first time. As Reich puts it, he and Serra are “in tune to the same frequencies,” so their meeting in Manhattan in the 1960s and subsequent friendship was both important and inevitable.
Working in sound and steel respectively, both Reich and Serra rejected traditional compositional structures—one of harmony and the other of form—to give shape to their work. Reich is the recipient of countless awards, including two Grammys, a Pulitzer, and, recently, the Golden Lion at the Venice Biennale. His works are performed in concert halls all over the world, and recently at Glastonbury Festival. Find “The Way I See It” on BBC Sounds or wherever you get your podcasts. https://www.bbc.co.uk/programmes/m000…