Hell according to Rodin.
Norma| N° d'inventaire | 21977 |
| Format | 22 x 28 |
| Détails | 262 p., paperback. |
| Publication | Paris, 2016 |
| Etat | Nine |
| ISBN | 9782915542981 |
Rodin's Hell allows us to relive the creation of an art icon: The Gates of Hell, the central work of Auguste Rodin's (1840-1917) career. Commissioned in 1880 for the Musée des Arts Décoratifs, this door that does not open would occupy Rodin for twenty years during which he tirelessly returned to his theme, refining it and creating some of his most famous sculptures: The Thinker, The Kiss, Ugolino and The Shadows. Inspired by Dante's Divine Comedy and Baudelaire's Les Fleurs du mal, the sculptor created an exceptional work due to the number of figures swarming across its surface (nearly 200), its size (6.35 m high and 4 m wide) and its treatment of bodies. The catalog presents the one hundred and fifty works on display - including fifty "rarely presented black drawings and around thirty sculptures shown for the first time - which allow us to discover the fascinating history of this masterpiece whose influence was considerable in the evolution of sculpture and the arts, addressing human passions in a new way. A true distillation of the sculptor's stylistic research, The Gates of Hell will also be a starting point for numerous variations made possible by his preferred techniques: fragmentation, assembly, enlargement, repetition, which allow us to understand the artist's obsession with a theme that he would work on until delivering a much more stripped-down version to the International Exhibition of 1900, visible at the Rodin Museum in Meudon.
Rodin's Hell allows us to relive the creation of an art icon: The Gates of Hell, the central work of Auguste Rodin's (1840-1917) career. Commissioned in 1880 for the Musée des Arts Décoratifs, this door that does not open would occupy Rodin for twenty years during which he tirelessly returned to his theme, refining it and creating some of his most famous sculptures: The Thinker, The Kiss, Ugolino and The Shadows. Inspired by Dante's Divine Comedy and Baudelaire's Les Fleurs du mal, the sculptor created an exceptional work due to the number of figures swarming across its surface (nearly 200), its size (6.35 m high and 4 m wide) and its treatment of bodies. The catalog presents the one hundred and fifty works on display - including fifty "rarely presented black drawings and around thirty sculptures shown for the first time - which allow us to discover the fascinating history of this masterpiece whose influence was considerable in the evolution of sculpture and the arts, addressing human passions in a new way. A true distillation of the sculptor's stylistic research, The Gates of Hell will also be a starting point for numerous variations made possible by his preferred techniques: fragmentation, assembly, enlargement, repetition, which allow us to understand the artist's obsession with a theme that he would work on until delivering a much more stripped-down version to the International Exhibition of 1900, visible at the Rodin Museum in Meudon.