lifeless stone and human flesh
The weight of the exhibit is of interest as well. Flesh and stone are, in
reality, opposites: one warm, soft and alive, the other cold, hard and lifeless.
But marble has been used like no other material over the centuries to capture
human poses not merely because it is highly durable and costly.
Rodin and his team were masters in giving life to stone and making it appear like human flesh moved and full of inner emotion.
„La Danäide“, e.g. after the Greek myth of the 50 daughters of Danaeus who, save one, slayed their spouses in the wedding night and were condemned to spend eternity pouring water into a perforated receptacle: depending on the angle from which the beholder views Rodin’s figure, one might see merely a beautiful female body with ample blond hairdo or a tired figure with a light glow of perspiration or, from another angle, a totally exhausted wench whose heart is weakly pumping mechanically under her skin.
„Le Baiser“ (The Kiss) is full of lust, the skin of the man and woman seem to scintillate.
能把握對象最自然，最不造做的一刹那的姿態。
Auguste Rodin, 1880, Enlarged 1902-1904, Bronze, HxWxD: 180x 98 x 145 cm, Musée Rodin, Paris
„L’Aurore“ (Dawn), too, is full of emotions: a face is looking into the future full of hope and longing.
possibly the work is incomplete and that the surroundings might be worked out of the stone at some future time.
The style was not without controversy among contemporaries as was his style of bringing art down to eye-level of the beholder.
Take, e.g. „Les Bourgeois de Calais“ (The Burghers of Calais): commemorating to 6 noble-men of Calais who gave their lives for the good of the community during the 1347 English siege of the city. Rodin gave them no pedestal and none of the heroic elements one might expect – he rather let them listen to the call of fate, the characters and in particular the expression of their hands full of doubt and lack of understanding as to what the world was coming to.
„Rodin, la chair et le marbre“, Musée Rodin-La Chapelle, through to march 3rd 2013
Rodin Museum in Philadelphia, USA is opening after a 3 year break for renovation.
Photos: Musée Rodin / Christian Baraja
heyday he employed as staff of up to 20 according to the catalogue to the
exhibit. Contemporaries nonetheless regarded him as a „dominator of marble“, and
critics poetically wrote that the stone „trembled“ before him.
Rodin and his team were masters in giving life to stone and making it appear like human flesh moved and full of inner emotion.
„La Danäide“, e.g. after the Greek myth of the 50 daughters of Danaeus who, save one, slayed their spouses in the wedding night and were condemned to spend eternity pouring water into a perforated receptacle: depending on the angle from which the beholder views Rodin’s figure, one might see merely a beautiful female body with ample blond hairdo or a tired figure with a light glow of perspiration or, from another angle, a totally exhausted wench whose heart is weakly pumping mechanically under her skin.
„Le Baiser“ (The Kiss) is full of lust, the skin of the man and woman seem to scintillate.
能把握對象最自然，最不造做的一刹那的姿態。
Auguste Rodin, 1880, Enlarged 1902-1904, Bronze, HxWxD: 180x 98 x 145 cm, Musée Rodin, Paris
„L’Aurore“ (Dawn), too, is full of emotions: a face is looking into the future full of hope and longing.
possibly the work is incomplete and that the surroundings might be worked out of the stone at some future time.
The style was not without controversy among contemporaries as was his style of bringing art down to eye-level of the beholder.
Take, e.g. „Les Bourgeois de Calais“ (The Burghers of Calais): commemorating to 6 noble-men of Calais who gave their lives for the good of the community during the 1347 English siege of the city. Rodin gave them no pedestal and none of the heroic elements one might expect – he rather let them listen to the call of fate, the characters and in particular the expression of their hands full of doubt and lack of understanding as to what the world was coming to.
„Rodin, la chair et le marbre“, Musée Rodin-La Chapelle, through to march 3rd 2013
Rodin Museum in Philadelphia, USA is opening after a 3 year break for renovation.
Photos: Musée Rodin / Christian Baraja
 |
| Rodin Museum in Paris |
The Rodin Museum in Paris is often overlooked
by the tourists. So overlooked in fact the nobody I spoke with ever visited it.
Living its days in the shadow of world famous museum like Louvre and Musee
d'Orsay, Rodin Museum was opened in 1919 in the charming Hôtel Biron and the
extraordinary surrounding garden. Rodin donated his entire collection of
sculptures to the French state on the condition that they turn this building
into a museum dedicated to his works.
Nearly 300 works from Rodin’s collection are on
display in this mansion designed along the lines of classical architecture and
adorned with rocaille decoration. One of the most recognizable of Rodin's works,
'The Thinker' can be found it in the garden, between refreshing promenades lined
with shadowy trees, a wide variety of plants and flowers and benches placed in
this peaceful surrounding, a perfect spot for meditation and relaxation. All the
usual suspects - The Kiss, The Hand Of God, The Burghers of Calais and The Gates
of Hell - are also on display here, making this a comprehensive museum on the
life and work of the celebrated French sculptor.
 |
The Thinker |
Though we visited Rodin Museum on a rainy day,
it made quite an impression on us. We had to take sanctuary inside the museum
for an hour or two because the summer Parisian rain is never joking. But it was
so pleasant to wander around the sculptures... not to mention that the museum
was filled with people engaging in smart conversations. I suppose some sorts of
event was taking place or something, as the people were all dressed up.
The museum is not big by any standards, and it
reminded me a lot of Villa Carlotta on Lake Como. Or better put, Villa Carlotta
reminded me of the Rodin Museum, as this was the one I saw first. But it's a
charming place! It makes you feel special. It makes you wonder and it helps you
understand better the works and the vision of the artist.
Though not serving it's initial purpose anymore, Hôtel Biron is one of the finest Paris hotels you will ever visit. It comprises what Paris is all about - complex beauty, style, and art. We felt good walking around this museum.
Though not serving it's initial purpose anymore, Hôtel Biron is one of the finest Paris hotels you will ever visit. It comprises what Paris is all about - complex beauty, style, and art. We felt good walking around this museum.
 |
| Inside the Rodin Museum |
The Rodin Museum in Paris is one of two museums
in France dedicated to Rodin. The other Rodin Museum is located in Meudon.
Between the two museums, the permanent collection includes over 6,000 sculptures
in bronze, marble, plaster, wax, and other materials. The finished sculptures in
marble and bronze are found at the main Hotel Biron site in Paris, but the vast
majority of unfinished work is to be found in Meudon. Though at the moment the
Rodin Museum in Paris is closed for interior renovations, it will open again in
spring this year and as there wouldn't be plenty of reasons, now there is one
more to start searching for hotel deals and plan a trip to Paris!http://www.youtube.com/watch?v=32ai6cLaKGw
現代雕塑的開拓者──法國雕刻大師──探尋人類精神深度的〔奧古斯特．羅丹〕
奧古斯特．羅丹（Auguste
Rodin，１８４０－１９１７）是法國雕塑家
擅於用豐富多樣的繪畫手法塑造神態生動有力的形象
被視為現代雕塑始祖
除雕塑外
他還創作許多插畫
銅版畫
素描等
與學生卡蜜兒．克勞黛的婚外情也廣為人知 後者成為他的創作繆思
卡蜜兒．克勞黛
１８４０年 羅丹出生於巴黎貧窮家庭
１４歲進工藝技術學校 之後跟隨巴里學雕塑
之後在學院風盛行的美術學校入學考屢次落第
促使他的自由發展
１８７５年前往義大利 首次看到米開蘭基羅的作品 使他頓然解放
改從自然本身出發
回法國後 羅丹不再受學院派束縛 完全拋棄古典傳統形式
以誇張動態 簡化的造型 來補捉人物的精神
找出表現人體新途徑 自此為現代雕塑開闢一片新天地
最初的代表作為１８７６年 被誤以為直接自模特兒模印下來的〔青銅時代〕
其後逐漸轉向人類內在的強烈表現
羅丹從徹底強而有力的寫實主義出發
一舉打破當時沉浸於美麗表現的法國雕刻界
他依次觀察自由動作與走動的模特兒 走進捕捉瞬間之美的印象主義
脫離所謂觀念之美的型式 雕刻活生生的人物之美
這很明顯與繪畫的莫內不謀而合
羅丹把雕刻從裝飾造作物或建築附屬品之任務解脫出來 確立為自由獨立的藝術
其印象派的技法可見之於對雕刻面受光效果的著重
羅丹更在這種技法與效果中探尋人類精神的深度
並將此深度用強勁之力表現 可謂寫實表現的自由化 精神的深度與詩意的綜合
他直到這類雕塑的完成為止 曾傾倒於米開蘭基羅 並從中世紀雕塑學習
並從同時代的文學家雨果及波特萊爾處得到建議
羅丹被視為現代雕刻的偉大開拓者 對２０世紀以後的雕塑界有絕對性的影響
代表作有〔地獄門〕〔施洗者約翰〕〔巴爾扎克像〕〔卡萊市民〕〔吻〕〔沉思者〕〔步行者〕等
當1880年創作地獄門時每天聽但丁神曲增加靈感
可見藝術家是多麼依音樂會來啟發創作
遠景是地獄門作品
奧古斯特‧羅丹（Augeuste Rodin1840～1917）法國著名雕塑家。十四歲隨荷拉斯‧勒考克（Lecongde Boisbaudran）學畫，後又隨巴耶學雕塑，並當過加裏埃－貝勒斯（Carrier-Belleuse）的助手，去比利時布魯塞爾創作裝飾雕塑五年。1875年遊意大利，深受米開朗基羅作品的啟發，從而確立了現實主義的創作手法
愛蜜兒是他的學生與情人
有十五件愛密兒的作品
「羅丹與卡蜜兒」電影在台灣演出時風靡一時，羅丹作品中，也充滿了對情慾的探討，但羅丹處理感情問題，也有理性一面。
羅丹說人的肢體語言與五關可以顯示人的靈魂狀態
吻是他成名的重要作品
遠景的雕像是沉思者
更是有名創作
他的《青銅時代》、《思想者》、《雨果》、《加萊義民 》和《巴爾扎克》等作品都有新的創造，曾受到法國學院派的抨擊。包含著186 件雕塑的《地獄之門》的設計，即因當時官方阻撓而未能按計劃實現，只完成《思想者》、《吻 》、《夏娃》等部分作品。善于用豐富多樣的繪畫性手法塑造出神態生動富有力量的藝術形象。生平作了許多速寫，別具風格，並有《藝術論》傳世。羅丹在歐洲雕塑史上的地位，正如詩人但丁在歐洲上的地位
羅丹和他的兩個學生馬約爾和布德爾，被譽為歐洲雕刻“三大支柱”。對于現代人來說，他是舊時期（古典主義時期）的最後一位雕刻家，又是新時期（現代主義時期）最初一位雕刻家。他的一 只腳留在古典派的庭院內，另一只腳卻已邁過現代派的門坎兒。可以說，羅丹用他在古典主義時期鍛煉得成熟而有力的雙手，用他不為傳統束縛的創造精神，為新時代打開了現代雕塑的大門；
當年輕的藝術家們蜂擁而入向前跑去時，他卻已入衰邁之年，他走不動了。他的創作對歐洲近代雕塑的發展有較大影響。羅丹生于一個貧窮的基督教家庭。他的父親是一名警務信使，母親是窮苦的平民婦女。羅丹從小喜愛美術，其它功課卻很糟糕。在姐姐瑪麗的支持下，失望的父親不得不同奧古斯特‧羅丹（Augeuste Rodin1840～1917）法國著名雕塑家。
許多珍貴的大理石透過羅丹的巧手
把細膩的身體充分表現溫柔與沉靜
羅丹進的美術工藝學校是蓬巴杜夫人所寵幸的畫家巴歇利埃在1765年創建的，學生在這裏學習裝幀藝術和制圖。在這裏他遇到了終生敬仰的啟蒙老師荷拉斯‧勒考克。勒考克是一個普通的美術教員，但他一開始就鼓勵羅丹忠實于真正的藝術感覺，而不要按照學院派的教條去循規蹈矩。也許正是這種教導影響了羅丹的一生。在此期間，他常去盧浮宮臨摹大師的名畫。由于買不起油畫顏料，羅丹轉到了雕塑班，並從此愛上了雕塑。
羅丹的一生是被人攻擊和嘲諷、同時亦為人理解和支持的一生。但他始終以一種偉大的人格正確地面對這一切。羅丹一生攀登，並終于登上米開朗基羅之後的又一高峰。羅丹堅信：“藝術即感情”。他的全部作品都證明了這一觀念，都深刻揭示了人類的豐富情感。以此而論，羅丹是最傑出的浪漫主義雕刻大師。然而，他的偉大，還在于他的深刻思想：他沒有浪漫派中容易見到的那些弊病，如膚淺的熱情，空洞的誇張，虛假的內涵。他偏愛悲壯的主題，善于從殘破中發掘出力與美。
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