Auguste Rodin citátov
Dátum narodenia: 12. november 1840
Dátum úmrtia: 17. november 1917
Auguste Rodin, celým menom François-Auguste-René Rodin bol francúzsky sochár, jeden z najväčších sochárov 19. storočia. Vychádzal zo štúdia antiky, gotiky, renesancie a orientálneho umenia. Za základ svojej umeleckej činnosti pokladal prírodu. Z nej stále vychádzal a zostával jej verný až do smrti. Ľudské telo bolo pre neho najvhodnejším prostriedkom, ktorým možno vyjadriť každý vnútorný duševný stav. Ním začína éra moderného sochárstva.
Citáty Auguste Rodin
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Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131
Kontext: 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.
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
Kontext: 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.
„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
Kontext: 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.
„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.“
Zdroj: Art, 1912, Preface, p. 7-8
Kontext: 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.
„I grant you that the artist does not see Nature as she appears to the vulgar, because his emotion reveals to him the hidden truths beneath appearances.
But, after all, the only principle in Art is to copy what you see. Dealers in esthetics to the contrary, every other method is fatal. There is no recipe for improving nature.“
Zdroj: Art, 1912, Ch. I. Realism in Art, p. 33
„I am not at their orders, but at those of Nature! My confreres doubtless have their reasons for working as you have said. But in thus doing violence to nature and treating human beings like puppets, they run the risk of producing lifeless and artificial work…“
Zdroj: Art, 1912, Ch. I. Realism in Art, p. 29-30
„The great difficulty and crowning glory of art is to paint, to draw, to write, naturally and simply.“
RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911
„In sculpture the projection of the fasciculi must be accentuated, the foreshortening forced, the hollows deepened; sculpture is the art of the hole and the lump, not of clear, well-smoothed, unmodelled figures. Ignorant people, when they see close-knitted true surfaces, say that 'it is not finished.' No notion is falser than that of finish unless it be that of elegance; by means of these two ideas people would kill our art. The way to obtain solidity and life is by work carried out to the fullest, not in the direction of achievement and of copying détails, but in that of truth in the successive schemes. The public, perverted by académie préjudices, confounds art with neatness. The simplicity of the 'École' is a painted cardboard ideal, A cast from life is a copy, the exactest possible copy, and yet it has neither motion nor eloquence. Art intervenes to exaggerate certain surfaces, and also to fine down others. In sculpture everything depends upon the way in which the modelling is carried out with a constant thought of the main line of the scheme, upon the rendering of the hollows, of the projections and of their connections; thus it is that one may get fine lights, and especially fine shadows that are not opaque. Everything should be emphasised according to the accent that it is desired to render, and the degree of amplification is personal, according to the tact and the temperament of each sculptor; and for this reason there is no transmissible process, no studio recipe, but only a true law. I see it in the antique and in Michael Angelo. To work by the profiles, in depth not by surfaces, always thinking of the few geometrical forms from which all nature proceeds, and to make these eternal forms perceptible in the individual case of the object studied, that is my criterion. That is not idealism, it is a part of the handicraft. My ideas have nothing to do with it but for that method; my Danaids and my Dante figures would be weak, bad things. From the large design that I get your mind deduces ideas.“
„You would not believe my suffering… Death would be sweeter… I can't go another day without seeing you. Atrocious madness, it's the end. I won't be able to work any more. Malevolent goddess! And yet I love you furiously.“
Auguste Rodin in letter to Camille Claudel, as cited in: Nigel Cawthorne (1998) Sex Lives of the Great Artists. p. 68
„The landscape painter, perhaps, goes even further. It is not only in living beings that he sees the reflection of the universal soul; it is in the trees, the bushes, the valleys, the hills. What to other men is only wood and earth appears to the great landscapist like the face of a great being. Corot saw kindness abroad in the trunks of the trees, in the grass of the fields, in the mirroring water of the lakes. But there Millet read suffering and resignation.
Everywhere the great artist hears spirit answer to his spirit. Where, then, can you find a more religious man?
Does not the sculptor perform his act of adoration when he perceives the majestic character of the forms that he studies? — when, from the midst of fleeting lines, he knows how to extricate the eternal type of each being? — when he seems to discern in the very breast of the divinity the immutable models on which all living creatures are moulded? Study, for example, the masterpieces of the Egyptian sculptors, either human or animal figures, and tell me if the accentuation of the essential lines does not produce the effect of a sacred hymn. Every artist who has the gift of generalizing forms, that is to say, of accenting their logic without depriving them of their living reality, provokes the same religious emotion; for he communicates to us the thrill he himself felt before the immortal verities.“
Art, 1912, Ch. Mystery in Art