Rodin's Art: The Rodin Collection of the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University
Albert E. Elsen, Rosalyn Frankel Jamison
Format: PDF / Kindle (mobi) / ePub
An exquisite book! A huge volume cataloging the Rodin collection at Stanford University. When almost 100 pages are dedicated to The Burghers of Calais, you know you're in for a huge treat.
Don't ask me why it's put out by Oxford UP and not Stanford's press!
Albert Elsen collaborated with Rosalyn Frankel Jamison to compile this extensive 662-page volume. Like the shorter catalogue, it is edited by the Center’s Chief Curator, Bernard Barryte. Hardcover $75.00, paperback $55.00; ISBN 0-19-513381-1.
The late Albert Elsen was the first American scholar to study seriously the work of the French sculptor Auguste Rodin, and the person most responsible for a revival of interest in the artist as a modern innovator--after years during which the sculpture had been dismissed as so much Victorian bathos. After a fortuitous meeting with the financier, philanthropist, and art collector B. Gerald Cantor, Elsen helped Cantor to build up a major collection of Rodin's work. A large part of this collection, consisting of more than 200 pieces, was donated to the Stanford Museum by Mr. Cantor, who died recently. In size it is surpassed only the by the Musée Rodin in Paris and rivaled only by the collection in Philadelphia. In scope the collection is unique in having been carefully selected to present a balanced view of Rodin's work throughout his life.
Rodin's Art 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 will begin 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.
entire face participates in a genuine expression. As an example, he makes an area such as the forehead, not normally considered expressive and often treated as emotionally neutral, expand the anguish conveyed by the mouth and eyes. From the largely closed eyes diagonally upward on both sides to just above the nose and almost into the hair, Rodin shows with indentations and ridges the pained contractions of the muscles. (Eyebrows in effect become muscles rather than merely hair.) The roughly
Rodin did not need painters to teach him how to model his figural masses, as he put it, "into light." To Henri-Charles DujardinBeaumetz, Rodin expressed it well: "Sculptors today want to see and work like painters; they are fooling themselves; this doesn't lead them to the truth; their eye sees in bas-relief."31 Always conscious that his work was originally intended to go in the front of a museum of decorative arts, Rodin was inspired by the opportunity to build on the past but also to take
during World War II and since 1954 has been outside the Kunsthaus Zurich. 6. Bartlett in Elsen 19653, 74. Other citations regarding cost estimates are in Elsen 19853, 62. 34 / CASTING A RODIN SCULPTURE Catalogue atalogue entries are arranged thematically. Within own, or proper, left shoulder. The foundry as well as each section, works follow an approximate chrono- uninscribed cast and edition numbers are indicated if logical sequence with occasional departures to juxtapose known. Provenance
has learned, in this good study, not to give a little more freedom to his imagination. 'The Age of Brass' has too much suffering in it, and too little of its author's philosophy and poetry."33 Rodin was not indifferent to or unmindful of these negative criticisms, as some were right on the mark. He would later move away from the obvious academic or studio pose. Quite a different perspective of the statue's Paris debut came from a then young sculptor, probably Jules Desbois (1851-1935), who later
the causes for his bent posture: the act of pulling the heavy halter around his neck with the right hand. Rodin's characterization of Andrieu was coming into focus even as his historical consciousness suffered lapses. Rather than dressing Andrieu in a shirt, breeches, and with the halter that Froissart reports, Rodin replaced the shirt and breeches with a robe and omitted the halter. With overlapping hands, Andrieu clutches the top of his head, a change from the first maquette in which the figure