Auguste Rodin cytaty

Auguste Rodin Fotografia
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Auguste Rodin

Data urodzenia: 12. Listopad 1840
Data zgonu: 17. Listopad 1917

Reklama

François-Auguste-René Rodin – francuski rzeźbiarz. W swoich pracach łączył elementy symbolizmu i impresjonizmu. Był prekursorem nowoczesnego rzeźbiarstwa.

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Cytaty Auguste Rodin

„Trzeba wziąć kawał marmuru i odrąbać wszystko, co w nim niepotrzebne.“

—  Auguste Rodin
Źródło: Anegdoty sławnych ludzi i o sławnych ludziach http://webgaleria.free.art.pl/atlantyda/anegdoty11.php

„I invent nothing, I rediscover.“

—  Auguste Rodin
Context: 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. p. 60-61 Alternative translation: 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

Reklama

„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.“

—  Auguste Rodin
Context: 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. p. 7-8

„In art, immorality cannot exist. Art is always sacred“

—  Auguste Rodin
Context: 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. Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131

„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.“

—  Auguste Rodin
Context: 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. 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

Reklama

„Gsell: What astonishes me, is that your way is so different from that of other sculptors. They prose the model. Instead of that, you wait till a model has instinctively or accidentally taken an Interesting pose, and thon you reproduce It. Instead of your giving orders to the model, the model gives orders to you.
Rodin: I am not at the model's orders; I am at Nature's. Doubtless my confreres have their reasons for proceeding as they do. But when one constrains Nature in that way and treats human beings as mannikins, one runs a risk of getting nothing but dead, artificial results. A hunter of truth and a trapper of life. I am careful not to follow their example. I seize upon the movements I observe, but I don't dictate them. when a subject requires a predetermined pose, I merely Indicate It. For I want only what reality will afford without being forced. In everything I obey Nature. I never assume to command her. My sole ambition Is a servile fidelity.
Gsell : And yet, you take liberties with nature. You make changes.
Rodin : Not at all. I should be false to myself if I did.
Gsell : But you finished work is never like the plaster sketch
Rodin : That is so, but the sketch is far less true than the finished work. It would Impossible for a model to keep a living attitude during all the time it takes to shape the clay. Still, I retain a general idea of the pose and require the model to conform to it. But this is not all. The sketch reproduces only the exterior. I must next reproduce the spirit, which is every whit as essential a part of Nature. I see the whole truth — not merely the fraction of it that lies upon the surface. I accentuate tho lines that best express the spiritual state I am Interpreting.“

—  Auguste Rodin

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