Auguste Rodin citations

Auguste Rodin photo
1  0

Auguste Rodin

Date de naissance: 12. novembre 1840
Date de décès: 17. novembre 1917

Publicité

Auguste Rodin , né à Paris le 12 novembre 1840, et mort à Meudon, le 17 novembre 1917, est l'un des plus importants sculpteurs français de la seconde moitié du XIXe siècle, considéré comme un des pères de la sculpture moderne.

Héritier des siècles d'humanisme, l'art réaliste de Rodin est un aboutissement, croisement de romantisme et d'impressionnisme dont la sculpture est modelée par la lutte entre la forme et la lumière.

La virilité de l'artiste, surnommé en son temps le « Bouc sacré », provoqua des drames semi-publics ou privés et est au centre d'une expression plastique de la sensualité, de l'érotisme, mais aussi de la douleur.

Par sa capacité de travail et d'organisation, Rodin laisse une œuvre hors norme.

Auteurs similaires

Charles Cordier photo
Charles Cordier1
sculpteur français
Gérard Garouste photo
Gérard Garouste2
peintre, graveur et sculpteur français
Daniel Buren photo
Daniel Buren
sculpteur français
Paul Claudel photo
Paul Claudel11
dramaturge, poète, essayiste et diplomate français
Max Ernst photo
Max Ernst
peintre et sculpteur allemand
Chaim Jacob Lipchitz photo
Chaim Jacob Lipchitz
sculpteur franco-américain
César (sculpteur) photo
César (sculpteur)2
sculpteur français
Henri Gaudier-Brzeska photo
Henri Gaudier-Brzeska
peintre et sculpteur français

Citations Auguste Rodin

„The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.“

— Auguste Rodin
Context: The artist must learn the difference between the appearance of an object and the interpretation of this object through his medium. The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation. Attributed to Rodin in: Southwestern Art Vol. 6 (1977). p. 20; Partly cited in: A Toolbox for Humanity: More Than 9000 Years of Thought (2004) by Lloyd Albert Johnson, p. 7

Publicité

„I invent nothing, I rediscover.“

— Auguste Rodin
Context: I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks; I try to put myself in the spiritual State of the men who hâve left us the antique statues. The 'Ecole' copies their works; the thing that signifies is to recover their method. I began by showing close studies from nature like The Age of Brass. Afterwards I came to understand that art required a little more largeness, a little exaggeration, and my whole aim, from the time of the Burghers, was to find a method of exaggerating logically : that method consists in the deliberate amplification of the modelling. It consists also in the constant reduction of the figure to a geometrical figure, and in the determination to sacrifice any part of a figure to the synthesis of its aspect. See what the Gothic sculptors did. Look at the cathedra! of Chartres; one of the towers is massive and without ornament : they sacrificed it to give value to the exquisite delicacy of the other tower. p. 60-61 Alternative translation: I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art ; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think ; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks ; I try to put myself in the state of mind of the men who have left us the statues of antiquity. The schools copy their works, but what is of importance is to rediscover their methods. First I made close studies after nature, like "The Bronze Age." Later I understood that art required more breadth — exaggeration, in fact, and my aim was then, after the Burghers of Calais to find ways of exaggerating logically — that is to say, by reasonable amplification of the modeling. That, also consists in the constant reduction of the face to a geometrical figure, and the resolve to sacrifice every part of the face to the synthesis of its aspect. Look what they did in Gothic times. Take the Cathedral of Chartres as an example: one of its towers is massive and without ornamentation, having been neglected in order that the exquisite delicacy of the other could be better seen. In: Andrew Carnduff Ritchie, ‎John Rewald (1945). Aristide Maillol: With an Introduction and Survey of the Artist's Work in American Collections. p. 19

„Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit by which Nature herself is animated.“

— Auguste Rodin
Context: Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit by which Nature herself is animated. It is the joy of the intellect which sees clearly into the Universe and which recreates it, with conscientious vision. Art is the most sublime mission of man, since it is the expression of thought seeking to understand the world and to make it understood. p. 7-8

„In art, immorality cannot exist. Art is always sacred“

— Auguste Rodin
Context: In art, immorality cannot exist. Art is always sacred even when it takes for a subject the worst excesses of desire; since it has in view only the sincerity of observation, it cannot debase itself. A true work of art is always noble, even when it translates the stirrings of the brute, for at that moment, the artist who has produced it had as his only objective, the most conscientious rendering possible of the impression he has felt. Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131

„Patience is also a form of action.“

— Auguste Rodin
Attributed to Rodin in: Leonard William Doob (1990). Hesitation: Impulsivity and Reflection. p. 124

Publicité

„The main thing is to be moved, to love, to hope, to tremble, to live. Be a man before being an artist.“

— Auguste Rodin
Attributed to Rodin in H. Read (1964), as cited in: Karl H. Pfenninger, ‎Valerie R. Shubik, ‎Bruce Adolphe (2001). The Origins of Creativity. p. 50

Publicité

„In sculpture the projection of the fasciculi must be accentuated, the foreshortening forced, the hollows deepened; sculpture is the art of the hole and the lump, not of clear, well-smoothed, unmodelled figures. Ignorant people, when they see close-knitted true surfaces, say that 'it is not finished.' No notion is falser than that of finish unless it be that of elegance; by means of these two ideas people would kill our art. The way to obtain solidity and life is by work carried out to the fullest, not in the direction of achievement and of copying détails, but in that of truth in the successive schemes. The public, perverted by académie préjudices, confounds art with neatness. The simplicity of the 'École' is a painted cardboard ideal, A cast from life is a copy, the exactest possible copy, and yet it has neither motion nor eloquence. Art intervenes to exaggerate certain surfaces, and also to fine down others. In sculpture everything depends upon the way in which the modelling is carried out with a constant thought of the main line of the scheme, upon the rendering of the hollows, of the projections and of their connections; thus it is that one may get fine lights, and especially fine shadows that are not opaque. Everything should be emphasised according to the accent that it is desired to render, and the degree of amplification is personal, according to the tact and the temperament of each sculptor; and for this reason there is no transmissible process, no studio recipe, but only a true law. I see it in the antique and in Michael Angelo. To work by the profiles, in depth not by surfaces, always thinking of the few geometrical forms from which all nature proceeds, and to make these eternal forms perceptible in the individual case of the object studied, that is my criterion. That is not idealism, it is a part of the handicraft. My ideas have nothing to do with it but for that method; my Danaids and my Dante figures would be weak, bad things. From the large design that I get your mind deduces ideas.“

— Auguste Rodin
p. 61-63

„I feel it, but I cannot express it,... I cannot analyse the Celtic genius to my own satisfaction. In the Middle Ages art came from groups, not from individuals. It was anonymous; the sculptors of cathedrals no more put their names to their works than our workmen put theirs on the pavement that they lay. Ah! what an admirable scorn of notoriety! The signature is what destroys us. We do portraits, but what we do is not so great. Thèse kings and queens, on the cathedrals, were not portraits. The fellow-workers stood for one another, and they interpreted; they did not copy. They made clothed figures; the nude and portraiture only date from the Renascence. And then those fellows cut with the tool's end into the block, that is why they were called sculptors. As for us, we are modellers. And what a disgraceful thing that casting from life is, which so many well-known sculptors do not blush to use! It is a mere swindling in art. Art was a vital function to the image-makers of the thirteenth century; they would hâve laughed at the idea of signing what they did, and never dreamed of honours and titles. When once their work was finished, they said no more about it, or else they talked among themselves. How curious it would hâve been to hear them, to be present at their gatherings, where they must hâve discussed in amusing phrases, and with simple, deep ideas!... Whenever the cathedrals disappear civilisation will go down one step. And even now we no longer understand them, we no longer know how to read their silent language. We need to make excavations not in the earth, but towards heaven...“

— Auguste Rodin
p. 63-64; About the genius of the Gothic sculptors.

Prochain
Anniversaires aujourd'hui
Jan de Hartog photo
Jan de Hartog
romancier néerlandais 1914 - 2002
Colin Tudge
écrivain britannique 1943
Emilio Gino Segrè photo
Emilio Gino Segrè
physicien italien 1905 - 1989
Karl Hess photo
Karl Hess
journaliste américain 1923 - 1994
Un autre 69 ans aujourd'hui
Auteurs similaires
Charles Cordier photo
Charles Cordier1
sculpteur français
Gérard Garouste photo
Gérard Garouste2
peintre, graveur et sculpteur français
Daniel Buren photo
Daniel Buren
sculpteur français
Paul Claudel photo
Paul Claudel11
dramaturge, poète, essayiste et diplomate français