Rodin's Art: The Rodin Collection of the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University

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

Language: English

Pages: 681

ISBN: 2:00266272

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!

stanford's blurb:
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.

amazon's blurb:
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.

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Thinker as his own tombstone at Meudon.42 In the context of Hugo's thought, Rodin's self-portrait as a visual parallel to Rodin's The Thinker not only identifies the portal's creator but offers a philosophical signature: Rodin identifies himself with Dante as the universal poet-thinker in Hugo's work and with the open-ended legacy of Dante championed by Hugo. Through this legacy Rodin could advance his self-definition as creator and place the "thinker-sculptor" within the universal line of

that task. I do not want the model when she comes to the studio to look at the works in clay every day."2 Rodin loved to work in the heat of feeling, but he also loved to study his work in clay over time. One of the best eyewitness accounts of his working procedure came from Paul Gsell. <21> In his studio on the rue de 1'Universite, we often saw naked women and men who walked around him. He paid them to live and move before his eyes. If he caught one of them in a pose that struck him, he asked

Saint-Pierre, who said: "Lords, it would be a great misfortune to let such a people die here of famine when one can find another means. I have such hope of finding grace and pardon from Our Lord if I die in order to save these people, that I want to be the first: I will willingly strip to my shirt, bare my head, put the rope around my neck, at the mercy of the king of England." When Sir Eustache de Saint-Pierre had said these words each one was aroused to pity and many men and women threw

dying. But we don't understand why the three major subjects, most prominently on view, show grief. This uniformity of attitude and feelings gives the group a cold and monotonous character. We think M. Rodin went too far by showing the companion on the right in a desperate pose and the behavior of the burgher on the left, who cannot hold back his tears as he presents the city's keys. After studying it, we find the shape, or rather the silhouette, leaves much to be desired in terms of elegance.

and Elsen 1977, 73. 2. Ibid. 3. On the mourning figures, see Kathleen Morand, Glaus Sluter: Artist at the Court of Burgundy (Austin: University of Texas Press, 1991), 121—59, 350-60. 4. According to Monique Laurent, there is no known nude study (Judrin, Laurent, and Vieville 1977, 168). 5. The name has been used by Musee Rodin curators Cecile Goldscheider and Monique Laurent. 6. Translation in McNamara and Elsen 1977, 70. 7. Ibid., 71. 8. Ibid., Rodin to Dewavrin, 2 August 1885, 72. 12O /

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