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AugusteRodin:
101DrawingsByNarimBender
FirstEdition
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AugusteRodin:101Drawings
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TableofContentsTitlePage
CopyrightPage
Foreword
Drawings
ForewordAugusteRodinwasaFrenchsculptor,usuallyconsideredtheprogenitorofmodernsculpture.ButactuallyRodindidnotsetouttorevolutionaryagainstthepast.
Hewaseducatedtraditionally,tookacraftsman-likeadvancetohiswork,anddesiredacademicrespect,althoughhewasneveracceptedintoParis’sleadingschoolofart.
Manyofhismostnotablesculptureswereseverelycriticizedduringhislifetime.Theyclashedwiththepredominantfiguresculpturetradition,inwhichworksweredecorative,formulaic,orhighlythematic.Rodin’smostoriginalworkdepartedfromtraditionalthemesofmythologyandallegory,modeledthehumanbodywithrealism,andcelebratedindividualcharacter.
ItwasthefreedomandcreativitywithwhichRodinusedthesepractices–alongwithhisactivationsurfacesofsculpturesthroughtracesofhisowntouchandwithhismoreopenattitudetowardbodilypose,sensuality,andnon-realisticsurface–thatmarkedRodin’sre-makingoftraditional19thcenturysculpturaltechniquesintotheprototypeformodernsculpture.
Sketcher,painter,engraver,sculptorandcollector,AugusteRodinisrecognizedworldwidefortheexceptionalauthenticityofhisanatomicalsculptures,butdrawingwashismeansofdiscovering“truth”inlifeandinart:forhim“good”drawingrepresentedtruthandsimplicityinnature;‘bad”drawingwasself-conscious,manneredinitsrepresentation,andoftendisplayedanignoranceofnatureorinexactobservationwithattemptstomaskitwithartifice.
Rodinwasaprolificdraughtsman,producingsome10,000drawings.
Hisdrawingswereseldomusedasstudiesorprojectsforasculptureormonument.Althoughtheworksonpapercanonlybeshownperiodically,owingtotheirfragility,theroletheyplayedinRodin’sartwasbynomeansminor.
Asthesculptorsaidattheendofhislife:
“It’sverysimple.Mydrawingsarethekeytomywork.”
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Drawings
Woman,1890,Watercolor,withgraphite,onpaper
BathingWoman,1900-1902,Watercolor,withgraphite,onpaper
Dancer,Undated,Watercolor,withgraphite,onpaper
KneelingWoman,c.1900–1908,Watercolor,withgraphite,onpaper
Womandraped,1917,graphiteonpaper
FemaleNudefromBehind,aScarfaroundHerShoulders,after1901,Watercolor,withgraphite,onpaper
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Nudewoman,Undated,Watercolor,withgraphite,onpaper
MissJeanSimpsonSeated,1903,Watercolor,withgraphite,onpaper
Cambodiandancer,1906,Watercolor,withgraphite,onpaper
Nudelying,Undated,Watercolor,withgraphite,onpaper
TheTortureGarden,1902,Watercolor,withgraphite,onpaper
ThecathedralsofFrance,1914,Watercolor,withgraphite,onpaper
ThecathedralsofFrance,1912
ThecathedralsofFrance,1914,Watercolor,withgraphite,onpaper
PortraitofHenriBecque
1883-87,Drypointoncreamlaidpaper,14.9x19.5cm
Rodinwasintroducedtocopperplateengraving,or,tobemoreprecise,toetchinganddry-pointengraving,in1881,byhisfriendAlphonseLegros,thenlivinginLondon.Althoughhesoonmasteredthetechnique,heonlyexplored13subjectsinhisengravings,butoftenprintedalargenumberofsuccessivestates.Duringhislifetime,theengravingshemadeafterhisportraitbustsenabledhimtofamiliarizethepublicwithhisfreestandingsculpture
andearnedhimanexcellentreputationasanengraver.
IntheportraitofHenryBecque,Rodinplacedafrontviewandtwoprofileviewsofthewritersidebysideinthesamecopperplate,therebymultiplyingtheanglesfromwhichthesitterwasseenandmakinghimrevolvearoundthesheet,likeabustplacedonasculptor’s
turntable.
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PortraitofAntoninProust
1884-88,Drypointoncreamwovepaper,11.3x6.6cm
LoveTurningtheWorld
1881,Drypointonivorylaidpaper,20x25cm
Sunrise
Undated,Watercolor,overgraphite,oncreamwovepaper(discoloredtotan),31.6x47.8cm
TheRound
1883-84,Drypointindarkbrowninkoncreamlaidpaper,8.5x14.9cm
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PortraitofVictorHugo,Three-quarterView
1884,Drypointoncreamlaidpaper,19.1x13.9cm
TheauthorofNotre-DamedeParisandLesMiserableswasanoldmanwhenRodinproposedtomakehisportrait.Hugo’spatiencewithsittingshadbeenstrainedtothe
breakingpointbyanothersculptorwhoseeffortsarereportedtohaveproducedamediocrebust.Moreover,Hugo’sdevotedmistressJulietteDrouetwasdyingofcancer.Detailsofthestoryvary,buttheearliestpublishedaccountsagreethatRodinwaspermittedtobepresentintheHugohouseholdandtomakesketches,butthatthepoetwouldnotactually
pose.Rodinmadedozensofdrawingsfromeverypossibleviewpoint,somerapidlysketchedonthespotandothersfrommemory,beforebeingallowedtosetupamodelingstandinanout-of-the-waycornertoworkinclay.FromthesepreliminariesRodincreatedthebustofHugothathefirstexhibitedattheSalonoftheSocietedesArtistesFrancaisin1884.Aseriesofsplendidlyexecutedprintsfollowed.ThefifthstateofthisThree-Quarter
ViewwaspublishedinthejournalL’ArtisteinFebruary1885.
KneelingGirl,enFace
Undated,Watercolor,withgraphite,onbuffwovepaperonbuffwovepaper,32.6x24.9cm
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LeavingtheEarth
c.1900-1905,Watercolorandgraphite,withsmudging,oncreamwovepaper,48.4x31.7cm
KneelingNudeWomanArrangingHerHair
c.1900,Watercolor,withgraphite,onbuffwovepaper,32.5x24.9cm
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PivotingNude,SeenfromAbove
Undated,Watercolorandgraphiteoncreamwovepaper,25.1x32.5cm
RecliningNude
Undated,Graphite,withstumping,ongrayish-creamwovepaper,30.8x20.4cm
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Nu
c.1900-1908,Watercolor,graphiteonpaper,Publiccollection
StandingFemaleNude,BendingForward
Undated.,Graphite,withstumping,ontanwovepaper,laiddownonbuffwovepaper,31.1x20.6cm
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VenusdeMilo
Undated,Watercoloronpaper,Publiccollection
RecliningFemaleNude,BackView
c.1900,Graphiteandwatercoloronvellumpaper,32x25cm,PrivateCollection
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StandingFemaleNude,SeenFromRear
Undated,Watercolor,withgraphite,oncreamwovepaper,35.7x24.9cm,PrivateCollection
FemaleCouple
Undated,Watercolorandgraphite,PublicCollection
StudyfortheAbduction
Undated,inkonpaper,37.5x31.5cm,Privatecollection
Seatednudebendingover
Undated,Watercolorwithgraphite,PublicCollection
StandingNudewithDraperies
Undated,Watercolorandgraphiteonivorywovepaper,44.5x31.7cm
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Sunset
Undated,Watercolorandgraphite,withsmudging,oncreamwovepaper,32.8x50.2cm
WomanwithaShawl
Undated,WatercolorandgraphiteoncreamJapanesevellum,32.6x24.9cm
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SeatedNudewithBentKnee
Undated,Watercolor,withgraphite,onpalegraywovepaper,26.3x21.8cm
TheGeniusoftheSculptor
c.1880-83,penandbrownink,26.3x18.9cm
TheGeniusoftheSculptortreatsanessential,self-referentialthemeintheartandlifeofAugusteRodin.Duringhislifetimeandafterward,hewasviewedasthemodernequivalenttotheRenaissancegeniusofsculpture,Michelangelo.Moreover,Rodin
repeatedlyexploredthethemeofmalecreativegeniusinmajorworks,suchasthefamousThinker.Inthisdrawing,Rodindepictedtheartistinactivethoughtwithhishandonhishead,accompaniedbyawingless“genius”floatingupfromhim.Hederivedthissymbolofinnercreativeenergyfromthetraditionalsubjectofthewingedmusedescendingto
inspire.
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BustofBellon
1883,drypoint
LaRonde
1883,drypoint
TheReflection
c.1900-10,graphiteandwatercolor,32x49.3cm
StudyforStJohntheBaptist,frontview
Undated,PublicCollection
Justicedraped,back
Undated,PublicCollection
Dancer
Undated,PublicCollection
TheGoldenAge
c.1878,Blackchalkwithwhiteongraypaper,46.8x30.4cm,PublicCollection
Thetitle,L’Aged’Or(TheAgeofGold)referstotheGreekmythofthefouragesoftheworld.Duringthefirstage,theAgeofGold,humanbeingswerethoughttohavelivedinaperpetualstateofyouthfulness,happiness,plenty,andpeace.Thethirdage,theAgeofBronze,whenthefirstwarlikemenwerethoughttodiebyviolence,wastheoriginofthe
titleofoneofRodin’swell-knownsculptures.
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L’Abandonnee(Theabandoned)
Undated,Graphite,stumped,19.4x30.4cm,PublicCollection
StandingFemaleNude
Undated,Graphiteandwatercolor,28x22.8cm,PublicCollection
TheCathedralofSaintPeterandSaintPaul,Nantes
PlateIIIofLescathedralesdeFrance,publishedinaneditionof50(Paris,1914)
LescathedralesdeFrance,thebookinwhichthisplatewaspublished,containsRodin’smusingsonFrenchmedievalcathedralsaccompaniedbyahundredillustrations,largelyofhissketchesofdetailsofFrenchGothicandRenaissancearchitecture.Healsoincludeda
fewillustrationsidentifiedassketchesmadefromworksbyMichelangelo.ThisillustrationrevealsRodin’sspecialinterestintheplayoflightandshadowonthesculpture
ofthecathedral’sportal.
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Hanako
c.1908,Graphite,penandbrownink,gouacheandredchalk,29.8x21.6cm,PublicCollection
TheJapaneseactressOhtaHisa,knownasHanako,posedforanumberofportraitstudies,andRodinportrayedhermobilefaceinvariousmedia.Thepensivemoodoftheactressinthissketchisdisturbedbythedisquietingsecondimageofherfaceasanenigmaticmask.RodinapparentlyintendedtouseHanakoasalivingmodelforaportraitofBeethoven,
probablyinmuchthesamewaythathehadusedamanofthecityofToursnamedEstagerasthelivingmodelforthefigure’sheadintheMonumenttoBalzac.
DeProfundisClamavi
1887-88,Penandbrownink,browninkwash,18.6x12cm,PublicCollection
WhileRodinstoppedexploringtheworldofDanteanddrawingsfromhisimaginationintheearly1880s,heremainedfaithfultothehighlycontrastedstyleofhis“blackdrawings”andcontinuedtousegouacheandinkwashuntilthelate1880s.TheperpetuationofthisstyleisparticularlynoticeableinsomeoftheinkdrawingsRodinmadeforBaudelaire’sFlowersofEvil.BecausehefeltaspecialaffinitywiththepoetandbecausehereceivedapersonalcommissionfromPaulGallimard,Rodinmade27illustrationsforthepublisher
andbooklover’sowncopyofthework,betweenOctober1887andJanuary1888.DerivedfromearlierdrawingsinspiredbyDante’sInferno,theposeofthesetwolovers,whosebodiesaremodelledbyafewshadowsinwash,expressesallthepainandpassioncontainedinBaudelaire’sverse,whichRodincarefullycopiedontothebottomofthe
page.
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Astarte,aftertheDancerAldaMoreno
c.1912,Pencilandstumping,20.1cmx31cm,PublicCollection
SeldomcanRodin’smodelsbeidentified.Circa1910,hemadetheacquaintanceofaSpanishdancerandacrobatworkingattheOperaComique,calledAldaMoreno,theformsofwhoseathleticbodycanbeseeninabout50drawings.Thesesuperbline
drawings,onsheetslargerthanthoseRodinordinarilyused,wereexecutedinpencilandstumpedsoastomodelthevolumesofthebodymoreaccurately.Theinscription,Astarte,madebyRodintotheacrobat’sright,identifiesthefemalebodywithastar.Astarteor
Ishtar,thedaughterofthemoongodandthetwinsisterofthesun,wasworshippedasthegoddessofLoveandDesireinMesopotamianmythologyandassimilatedtoAphroditeby
theGreeks.
Inthisdrawing,thedancer,whoseacrobaticposerecallsayogaposition,seemstobehoveringovertheground,ratherlikeaflyingsaucer.Thelithenessofherbodyis
accentuatedbytheexcessivestretchingmovementofthesupplearm.Theextensionofandamendmentstothefingerstouchingtheedgeofthesheet,likethewordbasinscribedbytheartistontheright,illustrateRodin’shabitofturninghisdrawingsaroundtofindanew
directionforthem,anewmeaning.
ForceandRuse
c.1880,Penandink,washandgouacheoncardboard,15.5x19.2cm,PublicCollection
Thedrawingrepresentingtheviolenceofamythicalcouplingbetweenacentaurandawoman.Itishardtodistinguishwhetherwhatisdepictedistheviolenceofanabductionorthefierypassionofawoman,ardentlystraddlingthefabulouscreature’srump.Half-man,half-horse,thecentaur,whorepresentsthetumultuousbattlesbetweenbodyandsoul,betweenangelandbeast,wasoneofRodin’sfavouritethemesinthe1870s.
Springingfromtheartist’simagination,thisworkbelongstotheperiodofhis“blackdrawings”,evenifitdoesnotillustrateanepisodefromDante’sHell,butinsteaddrawsits
inspirationfromanotherofRodin’spreferredbooks,Ovid’sMetamorphoses.
Inthisalmostmonochromeworkfeaturinglarge,Michelangelesquebodies,themurkybrownwash,mixedwithgouache,concealsthelinesdrawninpencilorink,givingrisetoa
constanttensionbetweenformandhaziness,intentionandfate.
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PortaloftheAbbeyChurchofSaint-Pierred’Auxerre
1881-84,Penandink,browninkwashonsquaredpaper,18.2x14.4cm,PublicCollection
Thispage,similarinstyletohis“blackdrawings”throughhisuseofinkanddarkwashesandcontrastingeffectsoflightandshade,thelowerarchitecturaldetailpossiblyrepresentsthewesternportaloftheabbeychurchofSaint-Pierred’Auxerre,whiletheupperdrawingshowsadetailfromoneofthesidedoors.Rodin’sinterestinthisclassic17th-centurychurchrevealshowthesculptor’sloveofpastarchitecturewentfarbeyondtheGothic
period.
IntheS…
c.1880,Pencil,penandink,inkwashandgouacheonpapermountedonruledpaper,18,2x13,6cm,PublicCollection
ThisworkonpaperisoneofthegouacheorinkwashdrawingsthatRodindidwhilereadingDante’sDivineComedy,in1880-83.Thecentralfigure,curleduponhimself,immersedinasortofcesspool,isliterallydrowninginvioletink,whileaprocessionofshadesseemtoobservehimfromabove.Annotatedinpenandinkontheright,danslam…,thisdrawingrecallsthemeetingbetweenDanteandoneofthecorruptersand
flatterers,AlessioIntermineiofLucca:“AndI,thencepeeringdown,sawpeopleinthelake’sfoulbottom,plungedindung…Searchingitsdepths,Itheremadeoutasmearedhead…”(Dante,Inferno,CantoXVIII).Thedrawing,madeonafragilepagefroma
notebookofordinarypaper,wassubsequentlycutoutbytheartistandstuckontoalargersheetofpaper.Theconsolidationoftheoriginaldrawingatthesametimeenabledittobeenlarged,extended.ThispracticedemonstrateshowRodinrefusedto“finish”awork,toconsideritfinal.Hewasinthehabitofreworkingearlierdrawingsandcombiningthemwithnewsketches,ornewfigures,aspartofametamorphic,cyclicprocessthatwould
laterreoccurinhissculptures.
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FemaleNudewithLeftLegOutstretched
c.1890,Graphitepencil,brownink,redpastel,pen,20.2x12.7cm,PublicCollection
From1890onwards,ashisreputationgrew,theartistcouldatlastaffordtoemploymodelsonaregularbasis.Thefemalebody,inallitsmanystates,thenbecame,withafewexceptions,hisuniquefieldofexploration.Forbiddinganysortofpose,Rodindrewthe
model,askinghertomovefreelyaroundhisstudio,andswiftlyjotteddown,withsurprisingvivacity,suchandsuchamovementthatseemedrightorparticularly
expressive.ThereisnothingacademicaboutFemaleNudewithLeftLegOutstretched.Theinsistentreworkingofthecontourlinesandtheamendmentshemadeinstrokesofred
pastelattesttohisdesiretocaptureanauthentic,expressivemovement.
Hanako
1906-1907,Pencilonpaper,30.9x19.5cm,PublicCollection
ThisworkonpaperisoneofthecountlessdrawingssketchedfromlifebyRodin,withouttakinghiseyesoffthemodel.
ItiseasytorecognizeinthisfiguretheJapaneseactressHanako,whomRodinmetinMarseillesin1906.Fascinatedbytheexpressivityofherface,thesculptorpersuadedhertocomeandposeforhim.Hemodeled58sculpturesofHanako,aswellasalargenumberofdrawings,madeinasinglesitting,duringwhichhesoughttocaptureherexceptional
energyonhissheetsofpaper.
Rodinwasstruckbythepowerfulmusclesofthistinydancer’s“exotic”body,ashetoldPaulGsell:“Sheissostrongthatshecanstandaslongasshewantsononeleg,while
liftingtheotherinfrontofheratarightangle.Shethusappearstoberootedtothegroundlikeatree”
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CambodianDancer
1906,Graphitepencil,gouache,31.3x19.8cm,PublicCollection
On10July1906,Rodin,aged66,attendedaperformancegiveninthePre-Catelan,Paris,byatroupeofCambodiandancers,whohadaccompaniedKingSisowathofCambodiaonhisofficialvisittoFrance.Enthralledbythebeautyofthesedancersandthenoveltyof
theirmovements,RodinfollowedthemtoMarseillestobeabletomakeasmanydrawingsofthemaspossiblebeforetheyleftthecountryon20July.
Rodinusedgouache(ochreforthegracefularmsandhead,deepblueforthetunicdrapingthebody),appliedinbroadbrushstrokesoverandbeyondthecontourlines.Allthedetailsareeliminated(garments,face,hairstyle).Allthatremainsistheconcentratedenergyofthegraceful,eloquent,age-oldgestures.“Inshort,”concludedRodin,“iftheyarebeautiful,it
isbecausetheyhaveanaturalwayofproducingtherightmovements”.
CambodianDancer
1906,Pencil,stumping,watercolor,gouachesoftleadpencilhighlightsonpaper,34.8x26.7cm,PublicCollection
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Eve
1884,Penandblackink,browninkwashonpaper,25.4x18.7cm,PublicCollection
MostofthedrawingsRodinmadeinrelationtohissculptureswerenotpreparatorysketches,butdrawingsmadeafterthesculpturesoncefinished,generallyasillustrationsforabookormagazinearticle.Thisisthecasehere,sincethepresentdrawing,which
borrowstheposeofthesculptureEve,datingfrom1881.
MaleNude,withOneHandandKneeontheGround
1896-1898,Pencilandwatercolouronpaper,32.5x25cm,PublicCollection
From1896,Rodinonlymadedrawingsafteralivingmodel.Hesoughttocapturechancemovements,withouttakinghiseyesoffthemodel,withoutevenglancingdownathissheetofpaper.Inthisrarepencildrawingofamalenude,theerratic,initiallinesofthis“snapshotofamovement”arestillvisible.Rodinsubsequentlyreworkedandcompleteditwithslashesofwatercolourwash,aprocessGselldescribedasfollows:“Thecolouringofthefleshisdashedoninthreeorfourbroadstrokesthatscorethetorsoandthelimbs.Thesesketchesfixtheveryrapidgestureorthetransientmotionwhichtheeyeitselfhashardlyseizedforonehalfsecond.Theydonotgiveyoumerelylineandcolour:theygive
youmovementandlife”
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SkeletonandSkull
c.1856,Pencil,penandblackinkonpaper,cutoutandpastedonasupport,25.3x11cm,PublicCollection
AssoonasRodincouldconcentrateonlearninghowtodraw,in1854,whenhebeganattendingthe“PetiteEcole”,hewastaughthowtodrawfrommemoryandalso
encouragedtopracticecopyingengravingsanddrawings.
SkeletonandSkulliscomposedoftwocopieshemadeduringhisyearsasastudent,sketchestheyoungartistcutoutandassembledtogetheratalaterdate.Theveryprecise
inklinedrawinganduseoffine,regularhatchingswerewaysofreproducingthetechniquesinvolvedinengraving,whileRodin’sfascinationfortheskeletonconveyedhisdesiretodiscovertheunderlyingstructuresofthehumanbody,beneaththevisibleouter
layerofflesh.
SlumberFlower.YoungMotherembracingherChild
c.1900,Pencilandwatercolouronpaper,25x32.5cm,PublicCollection
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UgolinosurroundedbyhisThreeChildren
c.1880,Pencil,penandwash,inkandgouacheonpaper,17.3x13.7cm,PublicCollection
WhenRodinreceivedthecommissionforTheGatesofHell,heimmersedhimselfinDante’sDivineComedy,“pencilinhand”,andmadeover100drawings,whichwerenotdesignsforthemonument,butameansof“workinginthespiritofthisformidablepoet”,
ashewroteinalettertoLeonGauchez.Invadedbydarklinesorinkwashes,thesesketchesbecameknownasthe“blackdrawings”,bothbecauseofthetechniqueusedandtheinfernalworldtheydepict.Amongthedesperate,endlesslywanderingsoulswhomDanteandVirgilencounterduringtheirjourney,UgolinowastheonethatespeciallyfuelledRodin’simagination.Theartistdecidedtofollowalltheepisodesofthecount’s
tragicdestiny,fromhisimprisonmentintheTowerofPisa,wherehehadbeencondemnedtostarvetodeathwithhischildren,totheatrociousscenesinwhichhedevouredhisownsons.Inthispyramidalcomposition,thecontortedbodiesandscreamingmouthsaremodelledbyshadowygreywashesandwhitegouachehighlights,whileamassof
entangledlinesinpencilorredinkconferafrenetic,bloodthirstyaspectonthescene.Theturbulent,poignantnatureofthisimageisheightenedbythedarkexpressiononthefaceofUgolino,who,ashissonsclingtohisside,seekstostifleascreamofterrorwithhisleft
handortocoverhisravenousmouth.
StandingEmbracingCouple,ProfileView
c.1900,Pencilandwatercoloronpaper,49.8x33cm,PublicCollection
Thecontrastbetweenthetreatmentofthetwobodiesclaspedinanembrace(whosefinepenciloutlinesarecoveredbyapale,fleshcolouredwash)andthatoftheflamboyantbackgroundagainstwhichtheyareset,andtheclarityofthebordersbetweenhuman
figuresandbackground,recallthetechniqueofcollage.Theabstractbackground,asortofbloodredstagecurtain,removesallnotionoftemporalityfromthissceneoftwolovers
fusingintoone,whichhasnoplaceinthetangibleworld.
VaseadornedwithPutti
c.1879-1882,Charcoalonpaper,38.4x33.1cm,PublicCollection
Rodinworkedonseveraloccasionsindecorativesculpturestudios,wherehisskillsasadraughtsmanandmodelerwerehighlyappreciated.Thisdecorativedesignforavasedates
from1879-82,whenRodinwasemployedattheSevresporcelainfactorybyAlbertCarrier-Belleuse.ItmayberelatedtotheVaseoftheElements,whoseformwasinventedbyCarrier-Belleusein1880,butwhosedecorationwasdesignedandexecutedbyRodin.
Thetechniqueemployedinthisdrawingresemblesthatofthe“blackdrawings”,whichRodinproducedinprofusionduringthisperiod:throughhisuseofstrongcontrast,the
brighthighlightsofthereliefsstandoutagainstthedarkbackgroundofthevase.Asimilareffectisfoundinthe“paste-on-paste”reliefdesignsmadebyRodin.
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TorsoofaRecliningFemaleNude,withoneHandonherChest
c.1900,Pencilandstumpingonpaper,20x31cm,PublicCollection
Inthelastyearsofhislife,Rodinnolongercontentedhimselfwithsinglelinedrawings,infinedrypencil,coveredwithalightwash.Heworkedonthemodellingwithstumping,usinghisfingertocrushasoftleadpenciltocloudover,orpartiallyobliteratethepencilmarks,toobtainhazierareas,withlesscontrastbetweenthefigureandthebackground.
ThisreturntoamorenaturalisticmodellingistypicalofRodin’slatedrawings.
Parallelscanbedrawnbetweenthemoreorlesspronouncedsfumato,ormistyunfinishedeffects,andthehandlingofthemarbles,wherefiguresgentlyemergeoutofanindistinctbackgroundandechothehazymonochromepaintingsofRodin’sgreatfriend,Eugene
Carriere.
TwoSemi-RecliningFemaleNudes
c.1900,Pencilandwatercolouronpaper,cutoutandassembled,32.6x26.2cm,PublicCollection
From1900onwards,whenRodinwasparticularlypleasedwithanattitudeormovementinoneorotherofhisdrawings,hewouldsometimescutitouttofurtherexperimentwithit.Hethusbuiltupastockofcut-outsilhouettes,takenfromhisdrawings.Hewouldthenselecttwoorthreeofthesefiguresandrearrangetheminanewcomposition.Oncehehaddecidedonthearrangement,hewouldusetracingpapertotransferthecompositionontoanothersheetofpaper,towhichhethenappliedwatercolours.TwoSemi-Reclining
FemaleNudesresultedfromtheassemblageoftwosuchforms.Rodinemphasizedthereliefofthecompositionbypassingoneofthewomen’sarmsovertheotherone’slegs.Likeallthecut-outpaperfiguresinthemuseumcollections,theseweremountedona
supportaftertheartist’sdeath.Rodinprobablyintendedtousethistwo-figureassemblageinanewwatercolour.Theideaofreplacingbrushesandpencilswithapairofscissorswouldlaterbewidelyechoed,particularlyintheCubists’papierscolles,inthegouache-colouredpapercut-outsproducedbyMatisseinthelastyearsofhislife,andinthetorn-uppapersanddrawingsHansArpusedasstartingpointsforhisConstellations,inthe1930s.
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Resurrection
c.1900,Pencil,watercolourandgouacheonpaper,49.9x31.7cm,PublicCollection
Asinhissculpture,Rodinexperimentedwithcombinationsoffiguresinhisdrawings.Thisstunningcompositionthusresultedfromtheassemblageoftwocut-outfigures,
probablytracedfromtwoseparatedrawings.Ashasbeenpreviouslybeenseen,thetwofigureswerethenjuxtaposedtogiverisetoanewwork.Throughtheadditionofcolour,Rodinthenbroughtoutthemeaninghesawinthistwo-figuregroup.Appliedinbroad
strokesofthebrushthickwithgreen,blueandpurplegouache,thedarkbackgroundseemstoshrinkbackfromtheyellowhalothatlightsupthewomen’sbodies.Likeanangel,oneofthemtouchestheotherwithherrighthandandthusappearstodrawheroutofthe
darknessandbringherbackintothelightoflife.TheannotationResurrection,lateraddedbyRodin,confirmsthisinterpretationofthework,buthisfundamentalpreoccupationlay
elsewhere,asalwaysinRodin’swork,formwasmoreimportantthansubject.
StandingNude
1900-05,Graphitepencilandwatercolor,32.5x25cm,PublicCollection
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CambodianDancer
1906,Watercolorovergraphitepencil,29x19.6cm,PublicCollection
FigureFacingForward
Undated,graphiteandwatercolor,32.5x25.3cm,PublicCollection
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DancingFigure
1905,graphiteandwatercolor,32.6x25cm,PublicCollection
FigureBendingForwardwithRightKneeRaised
Undated,graphiteandwatercolor,33x25cm,PublicCollection
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NudeWomanCarryingVaseonHead
1909,graphiteandwatercolor,50.3x31.2cm,PublicCollection
StudiesofNudeDancers
c.1900-1905,graphiteandwatercolor,35.8x26.2cm,PublicCollection
CambodianDancer
1906,Watercolorsandcrayononpaper,PublicCollection
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StandingFigure,Robed
c.1880-1882,Watercolor,Penandbrownink,brownwash,andwatercolor,17.78x11.59cm,PublicCollection
CrouchingNude
Undated,Pencilandwatercolor,143/8x97/8in.,PublicCollection
www.ebook777.com
Lesamants
c.1910,watercolorandpencilonpaper,32.5x25cm,PrivateCollection
TheProdigalSon
1880-1884,inkandwashheightenedwithgouachelaiddownonpaper,21x16.2cm,PrivateCollection
www.ebook777.com
Nudefemalefigurerecliningonside
Undated,Graphite,23.5x36.1cm,PublicCollection
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