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Impressionist Sculpture

Impressionist Sculpture



Revision on Impressionist sculpture, including Rodin and Camille Claudel

Revision on Impressionist sculpture, including Rodin and Camille Claudel



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    Impressionist Sculpture Impressionist Sculpture Presentation Transcript

    • Impressionist Sculpture Revision
    • Rodin
      • His work was doted of great psychological strength through carving and texture
      • This art is considered impressionist because of the rough surfaces and the multiplicity of plans
      • The work acquires vital deepness and colossal strength that animated the images
      • In his opinion, beauty in art consisted of a truly depiction of the internal state and for achieving that aim he used a certain distort of the anatomy.
    • Rodin
      • His sculpture, in bronze and marble, can be divided into two styles:
        • The most characteristic is deliberately strong in the shape and with a careful carving of the texture
        • An example of it can be his “Doors of Hell”
        • The second is marked by a polish surface, with delicate shapes
        • A characteristic work can be “The Kiss”.
    • Rodin
      • He was publicly recognised in an art exhibition in 1877 where he presented “The Age of Bronze”, a masculine nude
      • This work was controversial and he was accused of using wax models of human subjects
      • He began working in his “Doors of Hell” of which he created models and studios, even when they are not completely finished
    • Rodin
      • Some of his works were acclaimed such as “The Kiss”, that was realised at the time he was working with Camille Claudel
      • The experience of such a relation in which the physical union was linked to a peer friendship more spiritual probably contributed to a change in his conception of love that is evident in the works of this period.
    • Rodin
      • He evolved from the guilty love of the “Doors of Hell” to a more visual depiction with internal strength manifested in links and hugs to beings that manifest in this way the expansion of vital energy, of shared happiness
      • “ The Kiss” was considered by the contemporaries as too realistic and full of impudicity
      • Rodin had operated a kind of democratization of the erotic sensuality
      • The work was publicly acclaimed and it supposes the apotheosis of beauty and movement, with multiplicity of plans and smooth wavy surfaces.
    • Rodin
      • His style derived in full maturity towards symbolic forms, such as in “The Cathedral”, reduced to two hands in praying position
      • Other work is “The Hand of God”, in which from an ethereal marble cloud a human body emerges.
      • In 1886 he finished “The Bourgeois of Calais” in which he announced the deformations of the Expressionism
      • This monumental bronze group depicts historical characters with great psychological differences
    • Rodin
      • He produced several portraits in which the emotional states of the characters can be identified
      • His work marked, at the same time as Impressionism in painting, the birth of contemporary sculpture
      • The sculpture language of the 20th century has its beginning in the work of this extraordinary sculptor.
    • Camille Claudel
      • She always aimed at being an sculptor
      • Rodin, impressed by the solidity of her work, accepted her as a student in his workshop
      • She collaborated with her master in two important works:
        • The Doors of Hell
        • The Bourgeois of Calais
    • Camille Claudel
      • She left her family to work and lived with Rodin, depending on him and also in her own creation
      • Sometimes the works of teacher and student are so close one to another that it is difficult to say who influenced on whom
      • After this period, she suffered due to two reasons:
        • The difficulty of her relationship with Rodin, who was with other woman
        • The comments of some people saying that her works were realised by her master.
    • Camille Claudel
      • She tried to separate from her master and this attempt to be autonomous can be recognised in
        • the way of choosing the subjects and
        • the treatment she gave to her works
      • In this period she produced “The Vals” and “The Little Chatelaine”
      • She finally separated from her master in 1898
      • After this rupture, hurt and disoriented, she became mad and needed to receive psychiatric treatment
      • She expressed the rupture in a woks called “The Age Mur”
    • Camille Claudel
      • She tried to continue with her career in loneliness although the negative critics of some of the art-critics of the time
      • Two exhibitions of her works were realised in order to achieve recognition and, at the same time, financial and moral benefit for her
      • Critics were very good but Camille was too ill to benefit from these comments.
    • Camille Claudel
      • After 1905 the periods of paranoia were more frequent and worrying
      • She accused Rodin of keeping her sculptures and attribute them to himself
      • She also thought that unknown people were trying to enter in her home to steal her works
      • She was physically and morally deteriorated, not eating and not trusting anyone
      • She died in 1943