Frasi di Auguste Rodin

Auguste Rodin photo
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Auguste Rodin

Data di nascita: 12. Novembre 1840
Data di morte: 17. Novembre 1917

François-Auguste-René Rodin è stato uno scultore e pittore francese.

Sebbene Rodin sia universalmente considerato il progenitore della scultura moderna, l'artista non decise deliberatamente di ribellarsi contro lo stile precedente. Fece studi tradizionali, ebbe un approccio al suo lavoro umile e simile a quello di un artigiano e desiderò a lungo il riconoscimento da parte del mondo accademico, nonostante non sia mai stato accettato nelle più importanti scuole d'arte parigine.

Rodin ebbe una capacità unica di plasmare l'argilla creando superfici complesse, vigorose e profonde. Molte delle sue opere più famose alla sua epoca furono diffusamente criticate in quanto si scontravano con la tradizione scultorea figurativa dominante, secondo la quale le opere dovevano essere decorative, stereotipate o strettamente riferibili a tematiche conosciute. La grande originalità del lavoro di Rodin sta nell'essere partito dai temi mitologici e allegorici tradizionali per modellare le figure umane con realismo esaltando il carattere e la fisicità dell'individuo. Rodin fu consapevole delle polemiche che i suoi lavori suscitavano ma rifiutò di cambiare stile. Le opere successive finirono per incontrare maggiormente il favore sia del governo che della comunità artistica.

Partendo dall'innovativo realismo della sua prima grande scultura - ispirata da un viaggio in Italia che fece nel 1875 - fino ai monumenti in stile non convenzionale per i quali ottenne in seguito commissioni, la fama di Rodin crebbe sempre più e finì per diventare il più importante scultore francese della sua epoca. Con l'arrivo del XX secolo era ormai un artista apprezzato in tutto il mondo. Dopo la mostra che allestì all'Esposizione universale del 1900 facoltosi committenti si contesero le sue opere e Rodin frequentò molti artisti e intellettuali di alto profilo. In quello che sarebbe stato l'ultimo anno della vita di entrambi sposò la sua storica compagna Rose Beuret. Dopo la sua morte, sopraggiunta nel 1917, le sue sculture soffrirono un breve declino di popolarità ma in pochi decenni la sua reputazione e la sua eredità artistica tornarono a consolidarsi. Rodin rimane uno dei pochi scultori ampiamente noti e conosciuti anche al di fuori della ristretta cerchia della comunità artistica.

Frasi Auguste Rodin

„Quando parlo di cattedrali penso a tutti i paesi di Francia oggi; penso al genio dei nostri avi, penso alla bellezza delle donne del presente e del passato.“

—  Auguste Rodin

Origine: Citato in Cesare De Seta, Rodin, l’erotismo delle cattedrali https://rep.repubblica.it/pwa/generale/2018/01/16/news/rodin_l_erotismo_delle_cattedrali-186644738/, Rep.repubblica.it, 17 gennaio 2018.

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

—  Auguste Rodin

Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131
1950s-1990s
Contesto: 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.

„I invent nothing, I rediscover.“

—  Auguste Rodin

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
Contesto: 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.

„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

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
1950s-1990s
Contesto: 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.

„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

Origine: Art, 1912, Preface, p. 7-8
Contesto: 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.

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„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

„Nobody does good to men with .“

—  Auguste Rodin

Attributed to Auguste Rodin in: The Nation, Vol. 109 (1919), p. 6: Rodin means without reward.
1900s-1940s

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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