Frasi di Auguste Rodin (78 frasi, pagina 2)

Auguste Rodin: 78 frasi 1 Mi piace

Auguste Rodin frasi celebri

“Oggi giorno i giovani vogliono camminare troppo in fretta e non impiegano abbastanza tempo a conoscere se stessi.”

Auguste Rodin

“Dante non è solamente un visionario e uno scrittore; è anche uno scultore. La sua espressione è lapidaria, nel senso buono del termine. Quando descrive un personaggio, lo rappresenta solidamente tramite gesti e pose. […] Ho vissuto un intero anno con Dante, vivendo di nulla se non di lui e con lui, disegnando gli otto cerchi dell'inferno…”

Auguste Rodin

“Io non sono un sognatore, sono piuttosto un matematico. Le mie opere sono buone perché sono geometricamente corrette.”

Auguste Rodin

“Quattro ragazze camminano per la strada che costeggia il prato colorato di primavera. Quattro icone viventi della felicità.”

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.

Auguste Rodin: Frasi in inglese

“If in looking at a picture you have been profoundly moved by it, but have not noticed the color or drawing, you may be sure that they are technically perfect.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“I sacrificed to the mania of the age, which is to overload things. My modeling is there, the eloquence of the gesture also. The rest would only spoil the essential things. It is a stroke of genius. I am going to write to the under-secretary of state that my monument is ready.”

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Auguste Rodin

Origine: Rodin : the man and his art, with leaves from his notebook, 1917, p. 309

“Take more room, examine my 'Gate' from a little farther off, and you will see once more the effect of the whole — the effect of unity which charms you when it is deprived of its ornamentation. You must understand that my sculpture is so calculated as to melt into the principal masses. For that matter, it completes them by modeling them into the light. The essential designs are there: it is possible that in the course of the final work I may find it necessary to diminish such or such a projection, to fill out such or such a pool of shadow; nevertheless, leave this difficulty to my fifty years of artisanship and experience, and you may be sure that quite by myself I shall find the best way of finishing my work.”

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Auguste Rodin

Origine: Rodin : the man and his art, with leaves from his notebook, 1917, p. 281; About the sculpture The Gates of Hell

“But to-day, mankind believes itself able to do without Art. It does not wish to meditate, to contemplate, to dream; it wishes to enjoy physically. The heights and the depths of truth are indifferent to it; it is content to satisfy its bodily appetites. Mankind to-day is brutish — it is not the stuff of which artists are made.”

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Auguste Rodin

Origine: Art, 1912, Preface, p. 8

“The artist who parades his drawing, the writer who wishes to attract praise to his style, resemble the soldier who plumes himself on his unif onn but refuses to go into battle, or the farmer who polishes the ploughshare instead of driving it into the earth.”

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Auguste Rodin

Origine: Art, 1912, Ch. V. Drawing and Color, p. 96

“An artist worthy of the name should express all the truth of nature, not only the exterior truth, but also, and above all, the inner truth.
When a good sculptor models a torso, he not only represents the muscles, but the life which animates them — more than the life, the force that fashioned them and communicated to them, it may be, grace or strength, or amorous charm, or indomitable will.
In the works of Michael Angelo, the creative force seems to rumble; in those of Luca della Robbia it smiles divinely. So each sculptor, following his temperament, lends to nature a soul either terrible or gentle.”

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Auguste Rodin

Origine: Art, 1912, Ch. Mystery in Art, p. 178

“When I was quite young, as far back as I remember, I drew, but the gift is nothing without the will to make it worth while. The artist must have the patience of water that eats away the rock drop by drop.”

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Auguste Rodin

Origine: Rodin : the man and his art, with leaves from his notebook, 1917, p. 7

“Nobody does good to men with .”

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Auguste Rodin

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

“I obey nature, I never presume to command her. The first principal in art is to copy what one sees.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“It is too evident that if the drawing is bad, the color false, the deepest emotion must fail to express itself.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“As for me, seeker after truth and student of life as I am, I shall take care not to follow their example. I take from life the movements I observe, but it is not I who impose them.
Even when a subject which I am working on compels me to ask a model for a certain fixed pose, I indicate it to him, but I carefully avoid touching him to place him in the position, for I will reproduce only what reality spontaneously offers me.
I obey Nature in everything, and I never pretend to command her. My only ambition is to be servilely faithful to her.”

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Auguste Rodin

Origine: Art, 1912, Ch. I. Realism in Art, p. 30

“I choose a block of marble and chop off whatever I do not need.”

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Auguste Rodin

Attributed to Rodin in: Naum Ya. Vilenkin (1958). Stories about Sets, p. 125
1950s-1990s

“No sudden inspiration can replace the long years of arduous labor necessary to train the eye to observe, the hand to reproduce.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“For to me, this word Art, in its largest sense, signifies those who take pleasure in their work… Artist-carpenters who adjust with joy dovetails and mortises; artist-masons who handle lovingly their trowels; artist-cab drivers, proud of treating their horses humanely-what an ideal state of society that would be.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“My principles are the laws of experience.”

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Auguste Rodin

Origine: Rodin : the man and his art, with leaves from his notebook, 1917, p. 103

“Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.”

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Auguste Rodin

Rodin on realism, 1910

“Patience is also a form of action.”

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Auguste Rodin

Attributed to Rodin in: Leonard William Doob (1990). Hesitation: Impulsivity and Reflection. p. 124
1950s-1990s

“The landscape painter, perhaps, goes even further. It is not only in living beings that he sees the reflection of the universal soul; it is in the trees, the bushes, the valleys, the hills. What to other men is only wood and earth appears to the great landscapist like the face of a great being. Corot saw kindness abroad in the trunks of the trees, in the grass of the fields, in the mirroring water of the lakes. But there Millet read suffering and resignation.
Everywhere the great artist hears spirit answer to his spirit. Where, then, can you find a more religious man?
Does not the sculptor perform his act of adoration when he perceives the majestic character of the forms that he studies? — when, from the midst of fleeting lines, he knows how to extricate the eternal type of each being? — when he seems to discern in the very breast of the divinity the immutable models on which all living creatures are moulded? Study, for example, the masterpieces of the Egyptian sculptors, either human or animal figures, and tell me if the accentuation of the essential lines does not produce the effect of a sacred hymn. Every artist who has the gift of generalizing forms, that is to say, of accenting their logic without depriving them of their living reality, provokes the same religious emotion; for he communicates to us the thrill he himself felt before the immortal verities.”

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Auguste Rodin

Art, 1912, Ch. Mystery in Art

“Drawing is but a means to an end. One imagines that drawing can be beautiful-it is not the lines which are beautiful, but what they signify, the sentiments which they translate. In reality, there is no such thing as beauty in drawing, or color beauty lies alone in revelation of truth.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“I admit, that the commonplace man can never, by copying, produce a masterpiece; he notes every detail but he does not really see - the artist penetrates below the surface into the very heart of nature; for him everything is beautiful because beauty in art consists of character.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“Were this thoroughly understood, industrial art would be entirely revolutionized — industrial art, that barbarous term, an art which concerns itself with commerce and profit.”

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Auguste Rodin

Origine: Rodin : the man and his art, with leaves from his notebook, 1917, p. 125

“You would not believe my suffering… Death would be sweeter… I can't go another day without seeing you. Atrocious madness, it's the end. I won't be able to work any more. Malevolent goddess! And yet I love you furiously.”

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Auguste Rodin

Auguste Rodin in letter to Camille Claudel, as cited in: Nigel Cawthorne (1998) Sex Lives of the Great Artists. p. 68
1950s-1990s

“In general, it is possible to say that in artists as deliberate, as careful as [Durer and Holbein], drawing is particularly tight and the color is as cold as the verity of mathematics. In other artists, on the contrary, in those who are the poets of the heart, like Raphael, Correggio, Andrea del Sarto, line has more suppleness and color, more winning tenderness. In others whom we call realists that is to say, whose sensibility is more exterior, in Rubens, Velasquez, Rembrandt, for example, line has a living charm with its force and its repose, and the color sometimes bursts into a fanfare of sunlight, sometimes fades into mist.
So, the modes of expression of men of genius differ as much as their souls, and it is impossible to say that in some among them drawing and color are better or worse than in others.”

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Auguste Rodin

Origine: Art, 1912, Ch. V. Drawing and Color, p. 104-105

“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.”

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Auguste Rodin

Origine: Auguste Rodin: The Man, His Ideas, His Works, 1905, 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…”

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Auguste Rodin

Origine: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 63-64; About the genius of the Gothic sculptors.

“The biblical times have come back again, the great invasions of the Medes and the Persians. Has the world, then, reached the point where it deserves to be punished for the egotistical epicureanism in which it has slumbered?”

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Auguste Rodin

Origine: Rodin : the man and his art, with leaves from his notebook, 1917, p. 355

“The great difficulty and crowning glory of art is to paint, to draw, to write, naturally and simply.”

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Auguste Rodin

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“The search in modem life is for utility; the endeavor is to improve existence materially. Every day, science invents new processes for the feeding, clothing, or transportation of man; she manufactures cheaply inferior products in order to give adulterated luxuries to the greatest number — though it is true that she has also made real improvements in all that ministers to our daily wants. But it is no longer a question of spirit, of thought, of dreams. Art is dead.”

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Auguste Rodin

Origine: Art, 1912, Preface, p. 7

“To any artist, worthy of the name, all in nature is beautiful, because his eyes, fearlessly accepting all exterior truth, read there, as in an open book, all the inner truth.
He has only to look into a human face in order to read there the soul within — not a feature deceives him; hypocrisy is as transparent as sincerity — the line of a forehead, the least lifting of a brow, the flash of an eye, reveal to him all the secrets of a heart.”

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Auguste Rodin

Origine: Art, 1912, Ch. II. To the artist, all in nature is beautiful, p. 47-48

“The streets of Paris, with their shops of old furniture, etchings, and works of art, are a veritable museum, far less tiring than official museums, and from which one imbibes just as much as one can.”

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Auguste Rodin

Origine: Rodin : the man and his art, with leaves from his notebook, 1917, p. 105

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