GARNIER Bénédicte, LE GLOAN Éléa, BIASS FABIANI Sophie, BOULAY Faustine, CLERGUE Marie, DAVID Élisabeth, DELLI CASTELLI Alessio, LABOURY Dimitri, LANCESTREMERE Christine and KAYSER-LIENHARD Nathalie.
Dream of Egypt.
In Fine Art Editions / Rodin Museum, Paris
Regular price
€35,00
| N° d'inventaire | 25989 |
| Format | 22 x 28 |
| Détails | 192 p., paperback with flaps. |
| Publication | Paris, 2022 |
| Etat | Nine |
| ISBN | 9782382031056 |
The recourse to the teaching of Egyptian sculpture is perhaps the most remarkable thing that can be cited in the career of this artist. This is the art that seduced Auguste Rodin and from which, in his mature years, master of his craft, he asked for a lesson. There were in his studio a significant number of Egyptian works, originals and copies, whose presence attests to the predilection of the master for Pharaonic art. He constantly referred to it, and we know that, many times, it was to Egyptian art that he sought the solution to technical difficulties that embarrassed him.
This thought of Georges Rivière surprises us and leads us to question this peremptory assertion. Rodin's hagiography depicts a sculptor who is the heir of Phidias and Michelangelo, making little reference to the lineage of Egyptian artists. It is true that the young Rodin, trained at the Petite École de Lecoq de Boisbaudran, through observation and copying from Greco-Roman Antiquity, in the 1850s, at the Louvre Museum, but also through the books and engravings of the Imperial Library, then dazzled by the art of Michelangelo during his trip to Italy in 1876-1877, initially showed little interest in Egyptological discoveries or in the prevailing Egyptomania.
This thought of Georges Rivière surprises us and leads us to question this peremptory assertion. Rodin's hagiography depicts a sculptor who is the heir of Phidias and Michelangelo, making little reference to the lineage of Egyptian artists. It is true that the young Rodin, trained at the Petite École de Lecoq de Boisbaudran, through observation and copying from Greco-Roman Antiquity, in the 1850s, at the Louvre Museum, but also through the books and engravings of the Imperial Library, then dazzled by the art of Michelangelo during his trip to Italy in 1876-1877, initially showed little interest in Egyptological discoveries or in the prevailing Egyptomania.
This thought of Georges Rivière surprises us and leads us to question this peremptory assertion. Rodin's hagiography depicts a sculptor who is the heir of Phidias and Michelangelo, making little reference to the lineage of Egyptian artists. It is true that the young Rodin, trained at the Petite École de Lecoq de Boisbaudran, through observation and copying from Greco-Roman Antiquity, in the 1850s, at the Louvre Museum, but also through the books and engravings of the Imperial Library, then dazzled by the art of Michelangelo during his trip to Italy in 1876-1877, initially showed little interest in Egyptological discoveries or in the prevailing Egyptomania.