Auguste Rodin Books

Dem allgemeinen Publikum sind Auguste Rodins ungewöhnliche Aquarelle weit weniger bekannt als seine grandiosen, Maßstäbe setzenden Bronzearbeiten. Und doch handelt es sich bei diesen mit unnachahmlich leichter Hand verfassten Studien um nicht minder bedeutende Kunstwerke; im Gegenteil, dank ihres begeisterten Naturalismus und ihrer Offenheit erscheinen sie heute fast noch zeitloser und moderner als seine Plastiken. Neben aquarellierten Vorarbeiten zu seinen Skulpturen nehmen teilweise explizit erotische Silhouetten einen breiten Raum in diesem Teil von Rodins uvre ein; fröhliche und offenherzige Skizzen, mit denen der Künstler erstaunlicherweise ganz ungezwungen die Wände seines Ateliers „tapezierte“. Eine reizvolle Auswahl bezaubernder Aquarelle aus dem vom Musée Rodin in Paris verwalteten Nachlass des Künstlers bietet dieser schöne kleine Band. (Deutsche Ausgabe lieferbar ISBN 3-7757-1458-8; französische Ausgabe lieferbar ISBN 3-7757-1511-8) Zum Künstler: Auguste Rodin (Paris 1840 - 1917 Meudon). Kunststudium in Paris. 1876 Italienreise. 1883 lernt er Camille Claudel kennen. 1900 eigener Pavillon auf der Weltausstellung in Paris. Ausstellung: Städtische Galerie Ravensburg 10.10.2004-16.01.2005

The drawings and cutouts reproduced in this volume, including the notorious Weimar drawings, are brought together here for the forst time from museums and private collections all over the world; previous publications have only included those held by the Musée Rodin in Paris. Anne-Marie Bonnet describes in her introductory essay the conditions in which these intimate masterpieces were created, and finds in them surprising affinities with the work of twentieth-century avant-garde artists, notably Duchamp and Yves Klein. With 107 colour illustrations.

A beautiful centenary facsimile of a rare early book on the father of modern sculpture. This centenary facsimile edition faithfully reproduces a 1918 volume published immediately in the wake of the death of Auguste Rodin (1840-1917), one of the first volumes on the French sculptor in the English language. With an essay by young American artist and critic Louis Weinberg, it presents almost 70 of Rodin's works in a beautifully designed, high-quality clothbound format that will appeal to a contemporary audience. In a career that spanned the late 19th and early 20th centuries, Rodin rebelled against the idealized forms and practices of traditional art and paved the way for the birth of modern sculpture. The hallmarks of his style--its highly eroticized, sometimes explicit character, his use of incomplete figures, his emphasis on formal qualities rather than on narrative, and his desire to retain the marks of the sculptural process--were considered revolutionary at the time. As a result, his intense, evocative works courted controversy after controversy, inspiring violent hatred and ardent admiration in equal measure. By the end of his life, however, his reputation was established and he had become one of the most celebrated and sought-after artists in the world. This book is a perfect gift, collectible and keepsake for any Rodin enthusiast or lover of modern sculpture.

Master sculptor Auguste Rodin’s illuminating writings on cathedrals in France are especially relevant and significant following the recent fire at Notre Dame. In this volume, the writer and Rodin scholar Rachel Corbett selects excerpts from the famous sculptor’s book Cathedrals of France, first published in 1914, just before the outbreak of World War I. Cathedrals were central to the way Rodin thought about his art: he saw them as visual metaphors for the human figure, among the finest examples of craftsmanship known to modern man, and as a model for how to live and work—slowly, brick by brick. Here, Corbett takes the fire at Notre Dame and the concerns over its restoration as an entry point in an exploration of Rodin's cathedrals. Rodin adamantly opposed restoration, as he felt it often did more damage than the original injury. (Many of the cathedrals that Rodin looks at in his texts were, in fact, bombed during the war.) But while he rails against various restoration efforts as evidence that “we are letting our cathedrals die,” the book, with its tenderly rendered sketches and written portraits, is itself an attempt to preserve these cathedrals. The selection of texts in this volume is a reminder—as is the tragedy of Notre Dame—of why we ought to appreciate these feats of architecture, whether or not they are still standing today.

Meister in der Nachbildung der Menschengestalt. Die Süße der Sünde aus den Wurzeln des Schmerzes