Frases de Auguste Rodin
Data de nascimento: 12. Novembro 1840
Data de falecimento: 17. Novembro 1917
François-Auguste-René Rodin , mais conhecido como Auguste Rodin , foi um escultor francês. Apesar de ser geralmente considerado o progenitor da escultura moderna, não se propôs a rebelar contra o passado. Foi educado tradicionalmente, teve o artesanato como abordagem em seu trabalho, e desejava o reconhecimento acadêmico, embora nunca tenha sido aceito na principal escola de arte de Paris.
Esculturalmente, Rodin possuía uma capacidade única em modelar uma superfície complexa, turbulenta, profundamente embolsa em argila. Muitas de suas esculturas mais notáveis foram duramente criticadas durante sua vida. Eles entraram em confronto com a tradição da escultura da figura predominante, onde as obras eram decorativas, estereotipadas ou altamente temáticas. Seu trabalho mais original partiu de temas tradicionais da mitologia e da alegoria, modelando o corpo humano com realismo e celebrando o caráter individual e fisicalidade. Rodin era sensível às controvérsias em torno de seu trabalho, mas se recusou a mudar seu estilo. Sucessivas obras trouxeram aumentos de favores do governo e da comunidade artística.
Do inesperado realismo de sua primeira grande figura – inspirada por sua viagem à Itália, em 1875 – para os memoriais não convencionais cujas comissões mais tarde ele procurou, sua reputação cresceu, de tal forma que se tornou o escultor francês proeminente de seu tempo. Em 1900, ele era um artista de renome mundial. Clientes particulares ricos procuraram seus trabalhos após sua mostra na Exposição Universal, e ele fez companhia com uma variedade de intelectuais e artistas de alto nível. Ele se casou com sua companheira ao longo da vida, Rose Beuret, no último ano de vida de ambos. Suas esculturas sofreram um declínio de popularidade após a sua morte em 1917, mas dentro de algumas décadas, o seu legado se solidificou. Rodin continua a ser um dos poucos escultores conhecidos fora da comunidade das artes visuais. Wikipedia
Citações Auguste Rodin
„A arte é a contemplação: é o prazer do espírito que penetra a natureza e descobre que ela também tem uma alma. É a missão mais sublime do homem, pois é o exercício do pensamento que busca compreender o universo, e fazer com que os outros o compreendam.“
Auguste Rodin citado em Natal: patrimonio histórico e cultural : homenagem aos 400 de Natal - página 16, Maria de Fátima Medeiros - Medeiros e Fully Editora, 1999 - 133 páginas
Descrevendo a arte de esculpir
Attributed to Rodin in H. Read (1964), as cited in: Karl H. Pfenninger, Valerie R. Shubik, Bruce Adolphe (2001). The Origins of Creativity. p. 50
Attributed to Rodin in: Southwestern Art Vol. 6 (1977). p. 20; Partly cited in: A Toolbox for Humanity: More Than 9000 Years of Thought (2004) by Lloyd Albert Johnson, p. 7
Contexto: The artist must learn the difference between the appearance of an object and the interpretation of this object through his medium. The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.
Fonte: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 60-61
I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art ; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think ; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks ; I try to put myself in the state of mind of the men who have left us the statues of antiquity. The schools copy their works, but what is of importance is to rediscover their methods. First I made close studies after nature, like "The Bronze Age." Later I understood that art required more breadth — exaggeration, in fact, and my aim was then, after the Burghers of Calais to find ways of exaggerating logically — that is to say, by reasonable amplification of the modeling. That, also consists in the constant reduction of the face to a geometrical figure, and the resolve to sacrifice every part of the face to the synthesis of its aspect. Look what they did in Gothic times. Take the Cathedral of Chartres as an example: one of its towers is massive and without ornamentation, having been neglected in order that the exquisite delicacy of the other could be better seen.
In: Andrew Carnduff Ritchie, John Rewald (1945). Aristide Maillol: With an Introduction and Survey of the Artist's Work in American Collections. p. 19
Contexto: I invent nothing, I rediscover. And the thing seems new because people have generally lost sight of the aim and the means of art; they take that for an innovation which is nothing but a return to the laws of the great sculpture of long ago. Obviously, I think; I like certain symbols, I see things in a synthetic way, but it is nature that gives me all that. I do not imitate the Greeks; I try to put myself in the spiritual State of the men who hâve left us the antique statues. The 'Ecole' copies their works; the thing that signifies is to recover their method. I began by showing close studies from nature like The Age of Brass. Afterwards I came to understand that art required a little more largeness, a little exaggeration, and my whole aim, from the time of the Burghers, was to find a method of exaggerating logically : that method consists in the deliberate amplification of the modelling. It consists also in the constant reduction of the figure to a geometrical figure, and in the determination to sacrifice any part of a figure to the synthesis of its aspect. See what the Gothic sculptors did. Look at the cathedra! of Chartres; one of the towers is massive and without ornament : they sacrificed it to give value to the exquisite delicacy of the other tower.
Fonte: Art, 1912, Preface, p. 7-8
Contexto: Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit by which Nature herself is animated. It is the joy of the intellect which sees clearly into the Universe and which recreates it, with conscientious vision. Art is the most sublime mission of man, since it is the expression of thought seeking to understand the world and to make it understood.
Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131
Contexto: In art, immorality cannot exist. Art is always sacred even when it takes for a subject the worst excesses of desire; since it has in view only the sincerity of observation, it cannot debase itself. A true work of art is always noble, even when it translates the stirrings of the brute, for at that moment, the artist who has produced it had as his only objective, the most conscientious rendering possible of the impression he has felt.
„In those three years, (from fourteen to seventeen years old)… I came to understand the meaning of a drawing from the life, the synthesis of my art, and the rhythm of animais. I remember that a companion of those days,' of whom I hâve since lost sight, made me see, in a couple of hours, on a very true and simple principle, an observation of the necessary equilibria of movement not taught in the schools, the secret of the plans of a figure. That lesson has influenced my whole life. As for the ornament-maker, in whose workshop I earned a scanty wage, I long deplored being constrained to do so, but I hâve since thought with affection of it, understanding that there are as many sources of beauty in ornament as in the face.“
Fonte: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 2-3
„But when a great artist or a great writer lays hold upon either sort of ugliness he transfigures it instantaneously. With a touch from the magic ring he metamorphoses it into beauty. His Is a sort of fairy alchemy. His Is a sort of fairy alchemy.
When Velasquez, paints Sebastian, King Philip's dwarf, he gives him such an appealing look that we read the poor creature's secret and see the tragedy it involved — a man forced to get his living by discarding his human dignity, and becoming a toy, a living joke. The more poignant his martyrdom, within that misshapen body, the more beautiful the artist's work.
When Millet paints a poor rustic leaning upon a hoe, a wretch broken by fatigue, scorched by the sun, degraded as a beast of the field, he has only to add an expression of resignation in order to make this hideous nightmare a magnificent symbol of humanity.
When Shakespeare gives us Tago or Richard III, and when Racine gives us Néron and Narcisse, moral ugliness, interpreted by minds so clear, so penetrating, becomes a marvelous theme of beauty.“
Rodin on realism, 1910