This article highlights the role played by the French expatriate artist Alphonse Legros in familiarizing British collectors and the general public with the work of Auguste Rodin. It demonstrates how ...Legros popularized Rodin by introducing him to Constantine Ionides, a collector who acquired Rodin's Thinker in 1884, and to William Ernest Henley, the British art critic and poet, who later advertised his sculptures in print. Legros promoted Rodin by exploiting his network of contacts within the British art world and strategically placing the French sculptor's pieces in public gallery spaces. This strengthened the relationship between Legros's friends from Lecoq de Boisbaudran's studio, and ultimately challenged the rigidity of the British Academy with the artistic and political ideals of French modern art.
La présente étude se donne pour but de répondre aux questions que soulève l'oeuvre magistrale d'Auguste Rodin, La Porte de l'Enfer. Celle-ci puise dans les sources historiques et littéraires parmi ...lesquelles il faut mentionner, en premier lieu, la Divine Comédie de Dante. En réalité, en dehors des références que fournit le chantre florentin, l'oeuvre d'Auguste Rodin serait impensable. Rodin lui-même avait une prédilection pour les cathédrales, les édifices qui reconstruisent le sentiment de verticalité en recompensant le porte-à-faux. Celui-ci pris dans le sens analogique fournit une explication à la structure de La Porte, surtout lorsqu'on la compare à capolavoro di Ghiberti La Porta del Paradiso qui est censé servir de modèle à Rodin. La conclusion du présent article serait que La Porte de l'Enfer est impensable en dehors du contexte philosophique du Moyen-Age.
Las crónicas que Darío escribe sobre la exposición universal de París de 1900, reunidas luego en Peregrinaciones, interrogan a la cultura moderna en sus puntos ciegos. Darío usa como prisma para su ...diagnóstico la supervivencia y mutación de las imágenes del mundo clásico revisitada por la cultura de fin de siglo. El trabajo se centra en este momento reflexivo y melancólico del 900, cuando la percepción de la obra de Auguste Rodin coloca a Darío frente a la encrucijada de lo nuevo, donde la figura clásica, o su ruptura, opera como parámetro de su estética, tensionada por modernidades desfasadas
Rodin's Art Elsen, Albert E; Jamison, Rosalyn Frankel; Barryte, Bernard ...
2008
eBook
This reference/catalogue, written by the late Dr. Elsen, encompasses a lifetime's thoughts on Rodin's career, surveying the artist's accomplishments through the detailed discussion of each object in ...the collection. It begins with essays on the formation of the collection, the reception of Rodin's work, and his casting techniques. The entries that follow are arranged topically and include extensive discussions of Rodin's major projects.
In this paper, I analyze two poems from Rainer Maria Rilke's Neue Gedichte in which the act of seeing attains a poetic status, namely "Orpheus. Eurydike. Hermes" and "Pietà." This ocular poeticity ...derives not merely from the visual features of the beheld objects, but more fundamentally from the temporal implications of seeing. In the crucial scene of "Orpheus. Eurydike. Hermes," an instance of third-person observation is recounted as narrative retrospection, while in "Pietà," a first-person observation is narrated in the moment as a subjective concatenation of temporal categories. These valences of the gaze are further traced in two artworks which are thought to have inspired the poems: a Roman bas-relief depicting Orpheus, Hermes, and Eurydice, and Auguste Rodin's Le Christ et la Madeleine. In the poems and their statuary antecedents, it is not what is seen but rather the temporal substrate of seeing that indexes the gaze as variedly poetic, and consequently as intrinsic to subjectivity.
PDF
